Kebaya: This is Indonesia for all

Menurut According to Denys Lombard in his book Java Nusa: Cross Culture (1996) Kebaya derived from the Arabic 'Kaba' which means 'clothes' and was introduced by Portuguese when they landed in Southeast Asia. The word Kebaya is defined as a type of clothing (tops / blouse) was first used during the period of Indonesian women the 15th century or 16th century AD. Lombard argument by analogy is certainly acceptable, especially linguistic search that yet until now we still know 'Abaya' which means a long tunic typical Arab. While others believe Kebaya nothing to do with women's tunic dress during kekasiran Ming China, and this influence is transmitted after a massive immigration visited the South and Southeast Asian peninsula in the 13th century to the 16th century AD.

Regardless of their origins are Arabic, or Portuguese, or Chinese, we always known that the distribution is from the north islands of Indonesia. That is, countries that passed by the expansion ala Arabic, Portuguese, and Chinese may have the blouse version of each. And finally, the deployment of Java being the most southerly destination, since no traces of it again in the western Pacific island or peninsula of northern Australia. That is again, this time, Malaysia Kebaya can freely claim as one of the heritage tradition. Certainly without saying that this type of clothing came from Malaysia-because it sounds so stupid.

In the novel quartet Gajah Mada, Sky Krishna Hariadi writes: "Sri Gitarja replied, wiping tears using his sleeve". (Gajah Mada wrestle in Crisis Thrones and insolent thing 336, 3rd paragraph, line 5). The assumption was that if the princess Sri Gitarja be wiped her tears with her sleeve means that he wear sleeves are long sleeves to-least-close wrist. Most likely is the type of women's clothing kebaya. Unfortunately, this could have been mistaken for Kebaya is still a foreign body at this time. Java community at that time to know long cloth, weaving, ikat and tank as everyday clothing. There is also the opinion that this period is limited Kebaya worn in the kingdom alone. Unfortunately, the evidence is very weak. Fabrics made from natural fibers in a tropical country like Indonesia easily destroyed simply because of the humidity, the weather, to microorganisms eater. The evidence can not be said strongly is the statues and reliefs carved on the most ancient buildings of the 13th century to 15. However, there is no real pattern or picture that indicates Kebaya at that time.

We need to consider the spread and the arrival of Islam in Indonesia (15th century) to determine the development of today's modern kebaya. Very strong Islamic influence kebaya silhouette in the early days of its development. Alleged Strong said Kebaya originally a simple shaped tunic length tops that extends from the neck to the knee (baju kurung). This reminds us of the abaya and Malay kebaya. Such clothing immediately shifts the traditional tank. In some parts of Indonesia even found a woman who appeared without any boss (Bali, Lampung, Java). Habits that kind of dress also slipped, though in some custom events have to dress like that anymore, especially in Bali. Documentation longer belongs to the royal family and palace (Surakarta, Yogyakarta, Cirebon) in Java is still recording this long kebaya with some ornaments statehood mounted on several sides (19th century). Bracelet and hours kebaya worn outside of the arm, while the brooch series (third row) embedded in the front to form a cover. This type of material eventually reaching game. Coarse cotton and woven on a traditional course into embryo. However, velvet, silk, and cotton flannel then replace harsh ingredients earlier in accordance with the entry of European colonies in Indonesia and open lines of textile trade between countries (since the 18th century).

Suitability subsequent starts from the pattern and style. Modifications, innovation, and creativity to bring fresh fashion Kebaya this period. It is like loose without bond. Putu new kebaya to short tunic tlisman game pack many colors and beautiful patterns in the beginning of the 19th century. Period of the 19th century and the movement in the early 20th century is a glorious time for the Kebaya. Kebaya is a lively subject in the people of Indonesia, as well as European and Chinese immigrants with a variety of adjustment. Before the class-explain to them, which is almost evenly Kebaya worn by Indonesian women as usual until the special creations made by the nobility and the palace. Kebaya nobles and the family palace made of silk, velvet, and ornamented thick cloth (brocade); class of ordinary wear and woven coarse cotton; European descent usually wear the kebaya made from soft cotton with lace accents (brocade) at the edges, while for women the Netherlands wearing kebaya cotton with shorter pieces. At that time, many Europeans and even the Dutch themselves buy various kebaya in the Netherlands. This period began infiltrated elements of syncretism Kebaya class. There Kebaya ornate royal palace and gold thread (gold thread embroidery) with a velvet material. Specific pieces worn by upper class women also gave former real as kebaya Kartini. Grip-grip began to take shape. Certain patterns restricted in blue bloodlines. Kebaya began dikelompokan in classes caste paradoxical.

Spread of nationalism in the 1920s. Traditional organizations formed by the government of Indonesia and the Dutch East Indies nationalism called aloud. Political conditions that also affect the fashion preferences of people. Kebaya is already considered bercitra national indigenous struggle with everything. Women of European ancestry and the Netherlands left the kebaya as their daily wear because of the traditional image of the indigenous earlier. This period minimize development Kebaya fashion. Almost no significant material innovation, especially formations and patterns silhouette. Such conditions last until the next two decades until the worst comes.

The period 1942-1945 was the worst with the most minimal notes on the state of Indonesia, including fashion. Women in the occupation of Japan fell in the lowest place in history. Without exception; native European descent, Chinese, and Dutch thrown in jail and hired out loud. Kebaya worn by Indonesian women prisoners, while the shirt and overalls worn by European and Dutch descent. This unwritten rule, however, applies in almost every Japanese detention camps. Here, Kebaya is indigenous, the other colonies. Do not think about innovation, produce tragic fall tragic fall. In fact, the Japanese occupation of Indonesia also cut textile trade routes and supporting equipment. Many production houses kebaya closed. Batik fabric companies are emerging in this period is also required to make labor-intensive solution to simply survive. The most widely adopted solution is a merger between several smaller companies that make batik, kebaya, and industrial convection home. But it does not have much impact for the development of the fashion era. Political climate changes occur every hour. World War II was a time for fashion dark country, even the world. Unless Chanel and Hugo Boss are indeed fascist lover at the time, many fashion houses in the world decline.

Again raging political factors. Great revolution of Indonesia's independence in 1945 brought on a constellation of nationalist Kebaya more absolute. Traditional than the natives, Kebaya spread into nationalist and independence breathing. The educated women are close to Sukarno's government at that time a lot of different wearing kebaya, especially new types putu encim Kebaya is still no trace of him today. Some people respond to this condition as the golden years Kebaya until the 1960's. Almost all women, whether in the office, at home, wherever appearing kebaya. Kebaya brought national image so strong, but attached to the aristocracy in favor of the Soekarno particular. India, China, and parts of Southeast Asia dominate the textile market in Indonesia. Western sentiment Sukarno Sukarno and sentiment in Western Europe commodity exchanges limit lines and Indonesia. That look is a variety of styles and colors as diverse Kebaya. Pieces and old patterns re meruak though still holds grip-grip that is created from the previous century.

Kebaya has not fully recovered from the trauma of politics, he has to undergo one more blow. The transition of power from Sukarno to hand government under Soeharto's New Order in 1965 Kebaya put in a weak position. The images and symbols are carried Kebaya in the Soekarno make it shunned. Women who are not engaged with the political turmoil of the Old Order (Soekarno) chose not to wear Kebaya. Modern canal and women shirts more popular than Kebaya. Slowly but surely, Kebaya knocked out in an exclusive box Dharmawanita (wife of civil service women's organization formed in 1974). With its orange salmon, Kebaya became the official uniform of this organization.

Until the 1980's Kebaya increasingly isolated among military wives and servants, although some sort of local designer Iwan Tirta trying to preserve it. The good news is the role of information and exchange of commodities between countries is wide open again. Just how creative hands Nations children use. It did not take long, early 90's Ghea Panggabean experiment means the Kebaya. Within the scope of the class, He used silk organdy and other natural fibers are classified into Kebaya luxury. Among the elite and educated women, Kebaya this kind, which was also developed by many other local designers, has a special predicate. He is legitimately used in formal occasions both personal, family, or nation.

The 90's anyway Kebaya began to get a bigger place. Even having seen great economic promise. Indonesian designers agree, Kebaya is typical of the genre promising fashion world. They began to glance at it, learn them, and then be creative with it. The key is innovation! It seems the demand creation and accentuation of the users is also a major factor that drives Kebaya back to the era of the 19th century-a time when the Kebaya had the freedom to flourish.

After a 32 year reign of Indonesia, Suharto departed. Reforms to bring fresh air at once wild. For some reason, it's good. Many institutions that perverted. Reform is understood as an era of freedom. Open-mindedness became the starting point all the activities in the period 1997-2002. Unstoppable creativity exemplified by the following Soeharto's leaders and political world also followed people. Confinement is illicit goods in this period. Digalilah-creations fresh new democracy from many sources to enhance Kebaya. We must look at the brocade trend (lace), embroidery, application engineering, drapery, and mixing ingredients as the forerunner Kebaya revolution in the early 2000s.

That away with lots of ideas, he wins. World weddings, formal meetings of state, to exclusive events which brought the image of Indonesia as a consensus-hidden Kebaya as code requires clothing. It is then provoke competition among designers. In the pattern, silhouette, cutting, and outline changes vary the uniform. Like a loose ball, big changes were also accompanied by the utilization of raw materials. Out of mere organza and cotton, penetrated into the lane Kebaya silk, chiffon, shantung, lace, until the fibers previously unimaginable such as jute, pineapple, banana, and metal elements. The technique of embroidery, lace, helical, pleated, quilted layerhingga join Kebaya colored splendor. Until finally the use of luxurious materials kinds of sequins, crystals, precious stones and feathers (ostrich's feathers / fur cincila) comes with a revolutionary application taknik. With this one technique, creativity without boundaries is likely done. Application engineering opportunities Kebaya as art objects could be decorated anything-even diamonds if possible. Through a lot of techniques and pieces, material and materials, to accessories, Kebaya created as works of art. There's even a Kebaya which weighs up to 22 kg, because of the complexity of detail attached to it. Kebaya entered a period of revolution itself. He is now, like many people in Indonesia era of the 2000s, had a vision and their places. Without having affected the impact of political, economic, and even customs. Kebaya sheer creativity embrace feminist ideology.

Birth of Kebaya-kebaya by Anne Avantie, Marga Alam, Adjie Notonegoro, Biyan Wanaatmadja, Sebastian Gunawan to young designers like Priyo Oktaviano, Rusly Tjohnardi, Ferry Sunarto and more is evidence that Kebaya revolution. Kebaya designers work was pierced in the midst of strong local and international repertoire stomping. Kebaya fashion performances-performances, competition, criticism and compliments very constructive impact. Actions blindfold over-blown traditional grip blow some people make kebaya work rocketed toward a completely unexpected. He is now more than just identity, Kebaya is also a commodity and the national identity of Indonesia. Kebaya Indonesia emerged through ultra feminine silhouettes. He embraced a woman's body, making it shine, and perfectly curved. Not and can not be found anywhere else, even the places believed to be the forerunner of the infecting Kebaya Indonesia. Perhaps, Kebaya will soon enter the vocabulary of English as Batik and Tie. If it were so, no one could undermine the position Kebaya in Indonesia. Kebaya achieve the highest glory of the art in this country.

From here, we must be aware, there is a threat that we must deal with seriously. If Kebaya has entered the peak period, whether fate will be like Batik that go boom peak in the 1940's, in Java? Hokokai Javanese Batik Batik is known as the most glorious in the world (Iwan Tirta) be the culmination of this fabric. Now, Batik go dormant period. Creative designers presented creations never surpassed the beauty of its predecessor. Three countries, Lasem, Java Hokokai, and coastal ranks undeniable art-while not terulangi again. The question is whether Kebaya will also meet the same fate?

Thanks to: Iwan Tirta, Anne Avantie, Joop Ave, Victoria Cattoni, Roesly Tjohnardi, Marga Alam, Ferry Sunarto, Ida Munthe, Koesbiyanthi Indrastoeti, Yuko Tanaka, Rens Heringa, Pia Alisjahbana, Ir. TT. Soerjanto, Dr. Mariah Waworuntu, Lusiana Limono, Dra. Ratna Panggabean, Community Wastraprema, Yayasan Batik Indonesia ...

Photo: Hypnosis, Model: Nayla Alatas, Kebaya: Marga Alam, Anne Avantie, Ferry Sunarto, Ida Munthe (Wangie), Fabric: Marga Alam, Anne Avantie, Ida Munthe (Wangie), Gandrasta Bangko, Accessories: Rinaldy A. Yunardi, Anne Avantie, Marga Alam, Ferry Sunarto, Location: Lara Djonggrang

How to Model Kebaya Modern Artists ?

Modern Kebaya - Most people grow, modern kebaya for the artist is always luxurious and glamorous. This is not only related to the taste, but is also associated with their image and appearance of the luxury allure for fans.

How to Model Kebaya Modern Artists ?

Simple, modern kebaya models artist you can see when the artist is wearing kebaya. In their marriage, Virnie Ismail, Nirina Zubir, Bunga Citra Lestari, etc.., Wearing kebaya was beautiful and elegant.

Even Siti Nurhaliza, famous singers from the neighboring country, wearing a super luxurious modern kebaya in a tumultuous marriage that.

Their modern kebaya. kebaya-designed by a designer who is no stranger among celebrities. They sometimes do not fit the design kebaya grip itself. But apparently, the trend kebaya like this that apparently favored by the artist.

You must remember, too, the selection of Miss Universe and Miss Indonesia. You can imagine a modern kebaya designs her? Well, that's typical of the artist kebaya. Unique, and of course, expensive.

Selecting Kebaya Artist

Before you sew or buy kebaya as has the artist, you can find out which designers used to reference the artist in making blouse. You can find information on the design models in magazines or on the internet to be used as a reference later.

If you have a lot of money, it is advisable to go directly references the designers of these artists so that you get the model and stitches kebaya. kebaya trend similar to the artist.

Even if you already have a kebaya artist very fancy and expensive, you still have to adjust the dress code at events that you visit. Do not let fanaticism to make you one of kebaya costume artist at an event.

MODERN CLOTHING CARE KEBAYA

Modern Kebaya is one of Indonesian national garments increasingly rapid development. Modern kebaya modern example, is made of materials and models today, many people think hard caring for Modern Kebaya.




But not as imagined, according to Marga Alam caring Modern Kebaya is not too difficult. This talented young designers give a few tips for your favorite Modern Kebaya treatments that are not easily broken, stretchy, and faded.

These Tips In summary:

1. Kebaya Modern does not always have to be washed after use, can be used 2-3 times. Kebaya Modern aerated enough.

2. If it is going to be washed, it's good to pay attention to the ingredients. We recommend using a dry clean in your washing machine. Why dry clean? Because the option is safe for all types of Modern Kebaya, so it does not damage the original texture.

3. Do not hang Modern Kebaya that has been washed in the hot sun. Drying is a cool place, so that the color does not fade fast Modern Kebaya.

4. Do not spray perfume directly into Modern Kebaya. It will also damage the texture color at Modern Kebaya. Better to use perfume before you put on Kebaya Modern.

5. The way is very simple storage. Simply folded and not hung, especially for the many applications Kebaya Modern payet. Why is that? Because Modern Kebaya material mostly made ​​of elastic, if often hung eating the shoulder sequin will go down because of the weight.

CHOOSING THE RIGHT CLOTHING KEBAYA

Kebaya merupakan pakaian tradisional khas bagi perempuan Indonesia, saat ini perkembangan kebaya ini semakin pesat dengan model kebaya modern dan trendy.

Kebaya is traditional dress for women in Indonesia, the current development is growing rapidly with the kebaya. kebaya modern and trendy.



For those of you who want to choose kebaya, there are a few tips before choosing kebaya:

- If you want to make a kebaya, it was well adjusted to the budget, you can buy ready-made or ordered to tailor kebaya.

- If you want to look feminine, modern kebaya can use a simple and simple, such as a style off the shoulder so it looks pretty.

- For those who have small breasts, can work around this by adding detail or sequins on the front.

- For those of you who have big hips, you can use a modern kebaya design "new bug".

- For those of you who were thin, fit using the kebaya with Shanghai-style collar and extra sequins.

Choosing modern and traditional kebaya is right for the wedding dress and the other party, you also will look beautiful and graceful.

Alternative Styles And Models In Kebaya Muslim

Kebaya Muslim - The amount of interest in Muslim women to fashion and style, making the area increasingly varied Muslim clothes, one of them is Muslim kebaya. Muslim fashion with a transparent material, ethnic berdetail will make an appearance more beautiful and fashionable. Elements keetnikan dressed in Muslim clothing is in vogue women who veil. Color selection in kebaya Muslim and other Muslim dress was instrumental in giving the appearance that interesting. Soft colors such as red soil, green, brown or beige can be combined in the Muslim fashion so it looks more natural and chic.


Touch of hijab that more diverse, cover the head fused with fashion kebaya Muslim will make an appearance looks simple, but still trendy.

Or you can wear babydoll tops models that combined with rumple at the bottom so it does not look monotonous.

High collar which covers the neck, in addition to fashionable but still want to put that Islamic clothing norms. By that, despite appearing fashionable, do not forget to associate with religious elements.

Selection of detail in the Muslim fashion should also be considered as a corsage detail dress look great as a sweetener, and then pinned at the waist. Games wrinkle detail on the trousers can be combined with his high boots to the knee. Although veiled, not mean it can not look stylish and beautiful, is not it?

Tunic is often used as a Moslem because it was smooth and comfortable when worn. However, tunic or Muslim kebaya is not always oriented in the Middle Eastern style, but can be modified as desired.

Be inspired tunic style Muslim kebaya and baju kurung who paired with culottes and gloves tuk provide an alternative style. Tunic can also perform more actions shaped silhouette with H-line, A-line, and use the burst pattern cutting techniques, asymmetrical cuts and layering (stacks) that can seem more formal.

Sources: okezone.com

How to sew sleeves kebaya cross filter width

How to create a pattern




- Make the archetypal front and rear to 25 cm below the hips. Make a pattern of complete front rear left right




- Draw a model of cross-filter in front of the pattern. Extend the lower 20 cm of the hips, create a pattern of lines slanted front



- Draw a cross filter on pattern neck front, and the image also looks a little kamisonya on the inside of the chest, then separate each

Make a big arm to size. Starting from the elbow formed wide, longer than the fingertips then quotes and separated












Devise camisole pattern that has been quoted and separated above sidah fabric. Since the model's strappy camisole, then the length of the rope at the length + front and rear straps are already drawn. The length should not be increased or decreased and the place should not be moved.







Set up all the patterns on the fabric



X-X width of fabric 55 cm x 2 = 110 cm

X-Z length 155 cm fabric

LL layer neck

LD Lining Chest

LDB layer below the chest




HOW SEWING

Obras is all the pieces of fabric that will be sewn

Sew the front and rear is kupnat

Was the front shoulder seam seam with shoulders back

Connect is lining fabric lining fabric collar with a single chest

Put up a fabric layer from neck to hem down the left, stitches should fit should not be any longer or shorter, then suppressed fabric lining with 1 mm of the connection machine

Arrange a layer of lint cloth to stitch together, then stitched with soom puncture and immediately board so neat and slick

Stack the fabric is in the upper right chest and chest fabric envy at the bottom, place the center of the chest that underlined exactly overlap, baste so that has not changed one bit.

Make four marks the spot where the home button to be created and the studs installed

Open jelujuran middle of the chest. Seam stitching is seam side of his body and board while in the division to split in 2

Sew the hem is below the puncture soom

Seam is jahutan right arm and left arm sewing hems end with skewers soom

Attach the right arm was left on the hollow arm body

Make the home button and attach four buttons on the sign that you have created

Kebaya - Indonesian Traditional Dress for Women

History of the Kebaya

There is much speculation as to where the kebaya could have originated from. There are some who say that the kebaya originated in the Middle East, while others argue that it may have come from nearby China. Derived from the Arabic word kaba meaning “clothing” and introduced to Indonesia via the Portuguese language, the term kebaya has come to refer to a garment whose origins appear to be a blouse. It was first worn in Indonesia at some time during the 15th and 16th centuries. This garment is similar to what is described as a “long, fitted, flared kebaya known askebaya panjang6, worn in the 16th century by Portuguese women arriving on the south-western coast of Malaysia, situated across the Malacca Straits from Sumatra, in northwestern Indonesia.

Many sources also cite Chinese influences on clothing of the time, one source comparing thekebaya to an open-fronted long-sleeved tunic worn by women of the Ming Dynasty. The introduction of this kind of dress were accredited to two major occurrences of this time; the emerging influence of Islam and the arrival of the Europeans to the archipelago. Whether it was Arabia or China that brought us the wonderful kebaya, there is no denying how quick the use of this garment was made uniquely Indonesian and spread from one island and ethnic group to another which its own regional variations. This quick diffusion of the use of the kebaya was also linked to the spice trade that was happening during this time in history.
Origins of the Kebaya

After Dutch colonization, the kebaya took on a new role as the formal dress for the European women in the country. During this time, the kebaya was made mostly from mori fabric. Modifications made to this traditional costume later introduced the use of silk and embroidery to add design and color. The most dominant form of kebaya worn on the islands of Java and Bali today, can be visibly traced to the kebaya worn in Java and Sunda from the late 19th - early 20th century onwards.

Many of the easily recognizable features of today’s kebaya – a tight fitting blouse that enhances the torso of the woman; the fold-back collarless neck and front opening; long sleeves; and the type of semi-transparent fabric – are evident in the kebaya of the past century. Traditional kebaya required the torso of the women to be wrapped with a long piece of cloth called a stagen. Women of higher social status would have help in wrapping their torso with the stagen however women who were not so fortunate to have help could dress themselves by tying the end of the stagen to a post and literally wrapping themselves into it.

The semi-transparent kebaya blouse was then worn overtop of the stagen. This blouse was fastened with a brooch rather than buttons and buttonholes. It was customary to combine the kebaya with kain – a length of unstitched cloth worn on the lower part of the body, often (and incorrectly) referred to in the English language as sarong. This kain was wrapped around the body with the pleats being placed at the front of the body. Traditinally this kain was dipped in a cornstach solution and then carefully folded by hand into pleats and pressed to produced the crisp look that was desired.
Indigenous Dress in the Making of a Nation

Considering the enormous historical – political and social – shifts that have occurred in Indonesia during the last century, the form of the kebaya, has remained relatively unchanged. Its function and meaning however, in contrast to its form, has seen major changes in colonial and post-colonial Indonesia, operating to meet different groups’ political agendas, social needs and aspirations. The kebaya has come to symbolize the emancipation of women in Indonesia through a representation linking the kebaya to the 19th century “proto-feminist” figure of Raden A. Kartini.

During the 19th century, and prior to the Nationalist movement of the early 20th century, the kebaya had enjoyed a period of being worn by Indonesian, Eurasian, and European women alike, with slight style variations. During this time distinguishing class and status was important and produced variants of the basic costume. The kebaya of Javanese royalty were constructed of silk, velvet and brocade; Javanese women belonging to the commoner class wore figured cottons; the kebaya worn by Eurasian women was of white cotton trimmed with handmade European lace during the day, and of black silk in the evening; while the Dutch women preferred a shorter white kebaya. It was even possible for Dutch women planning to travel to the Dutch East Indies to purchase their kebaya in the Netherlands prior to leaving.
Bali’s Kebaya

In Bali, the kebaya has a much more recent history. The Dutch, whose occupation of Bali began as late as 1849 in the north of the island, and whose direct rule did not begin until 1882, are believed to have enforced the wearing of the kebaya. At the time Balinese women’s breasts were uncovered, except for formal and ceremonial occasions, during which a sabuk might be wound tightly around the upper torso, covering the breasts but leaving the shoulders and arms exposed. The women of Buleleng, the regency of northern Bali, therefore would have been some of the first to adopt the kebaya.

Other sources however, do not locate the kebaya being in use until the early 1920s by which time it was in full use in other areas of Indonesia. It is via the royalty and the palaces that the kebaya appears to have been disseminated out into the community. New dress codes adopted by members of the royalty returning to Bali from Java were passed down through the caste system. Yet despite the fact that clothing is often used to separate class, there seems to be no evidence of the time to indicate that there were any rules delineating styles of kebaya according to caste. Differences in kebaya cloth were more likely to be an outcome of differences in wealth.
Emerging as National Dress

By the 1920s however, and with the full emergence of the nationalist struggle in Indonesia, European women stopped wearing the kebayabecause it was identified with typical Indonesian attire. For the European colonizers the Kebaya had become associated with Indonesian nationalism.

During the period of the Japanese occupation of Indonesia (1942-1945), educated Indonesian women prisoners-of-war chose to wear kain-kebaya rather than the western dress allocated to them as prison dress. A different set of political conditions produced a reversal of meaning. In this situation the women employed a cultural code (of traditional dress) to assert their political position, differentiating themselves from their European women that were also prisoners-of-war.

During the Proclamation of Independence by President Sukarno on August 17, 1945, the only woman in attendance, Ibu Trimutri was wearing kain kebaya. This image helped transform the kebaya from mere traditional dress, elevating it to the status of national dress for Indonesia women.
From the Palace to the Street - Popular and Traditional Images

While the kebaya is worn by a wide range of women from the former President Megawati to the jamu street vendor, the kebaya could never be claimed to operate as a social leveller. Women who sell jamu (traditional herbal medicine), from young to old, and right across the islands of Java and Bali are wearing kebaya. Today, in Indonesia the image of a woman wearing kebaya sells a variety of products from traditional herbs to Betadine to fried chicken. As an icon the women in her traditional clothing - kebaya - sells tradition and all the purity and goodness belonging to Indonesian cultural traditions. Perhaps she also evokes an element of nostalgia for urban consumers. Traditional as a way of life, is often less about the differences between rural and urban settings, than about socio-economic and class distinctions. For women 50 years and older, whose occupations and way of life come to distinguish them as traditional, traditional clothing of kain-kebaya is their choice of daily dress. These women, the majority of whom belong to the lower socio-economic group, often work in traditional settings such as markets, are employed as house servants or work in the agricultural sector.
Today’s Kebaya

If we try to define what a kebaya is, it may prove to be difficult as it is constantly changing to reflect the changing times and fashions that Indonesia is experiencing. Nonetheless, it is possible to make some generalizations about the kebaya. Most Kebaya are made from a lace brocade. Most kebaya fabric uses a floral motif either printed or woven into the textile and its length can fall somewhere from above the waist to below the knee. It usually, but not always, has long sleeves. It is usually fastened at the front, and if not, then gives a semblance of doing so. Some variations of the kebaya will use a batik sash, which is coordinated with the kain, draped over the shoulder as an added accessory.

Although women in the market can be seen wearing kebaya, we can also see exquisite variations of them in government gatherings and parties and high society social functions. The beauty of this national dress is undeniable. Some of the most influential women in Indonesia are married in kebaya that can be described as “works of art” with their hand embroidered detailing and beading. Designers such as Ami Amianto have helped to promote the kebaya not only as a important part of Indonesian clothing history but as a very beautiful item of clothing that Indonesian women are proud to wear.

So the next time you see a women wearing a kebaya you will understand that she is not just wearing a functional piece of clothing but she is also wearing a symbol of Indoneia’s cultural history which represents national symbolism and high fashion too!

This article was written by Gene Sugandy, with research from the following sources:

Reading the Kebaya by Victoria Cattoni
Kebaya - Wikipedia

Kebaya your history first for all

Before World War II, many women who wear cloth descendants of Chinese and Javanese kebaya as women, but very different color and s type. The term actually refers to the Chinese descendants of Chinese Muslims, namely those who have mixed blood Chinese and locals.

Made batik fabric batik entrepreneurs on the north coast of Java, especially Cirebon and Pekalongan, dominated by the color blue, light orange, light green, light yellow. While his motives as diverse as flowers, birds hong, other birds, or leaves. The more to the east as in Lasem, style and color is brown or a mixture of red and purple, with a motif of Javanese history and so on.

Kebaya worn Descendants Chinese women are generally decorated with a thin white lace. In recent years it had Kebaya Become a kind of 'mode' or 'trend' among women of the middle class who are not Chinese.

Baju Kurung 

By the end of 19th - century and early Twentieth Century - 20 Peranakan Chinese women in Java, wear baju kurung, with subordinate batik sarong. Baju kurung is derived from the Malay clothes scattered everywhere like language. Clothes brackets are made of non-transparent, has a slit in the neck, embeddable with a pin or brooch.

Baju Panjang 
After baju kurung, came a long shirt. different from the baju kurung, a long shirt has openings in the front. Pieces like a long kebaya, but not spliced ​​in the shoulder and arm, and the chest sealed with three pin gold or silver chain fine.
The pattern is two-dimensional. This is what distinguishes the kebaya long dress that has three dimensions. Long white dress also worn Christian Ambonese women, combined with the blue gloves, roomates at the Peranakan Chinese women are only used at the time of mourning (Toaha). Clothes length over time increasingly shortened, henceforth replaced with kebaya.

Kebaya Lace.
Consumption begins with kebaya lace. Kebaya lace is made from translucent white kebaya (voile, paris, Batist, and atekres) imported from Europe and delicate lace decorated edge width Swiss made, spearheaded by women of Dutch descent (Indo). The pattern is a modification patterns in the Portuguese outfit.

Early 20th-century Dutch lace kebaya Indo Adopted by the descendants of Chinese women in Singapore, modified According to their tastes. From Surabaya to Batavia and then spread to other places. Modification was seen on the bottom edge of the kebaya average Dutch Indo later made into a pointed (sonday). In further developments lace kebaya is a kind of identity descendants of Chinese women in Indonesia. REMAIN lace kebaya is generally white, want to state that the wearer is a woman 'fine'.

Descendants Chinese woman with kebaya lace

Batik Sarong

In contrast to the tendency among indigenous women, as their baju kurung, a long shirt, or kebaya, since the first women prefer Chinese Peranakan batik sarong than long, Considered Because it is more practical, but some are more like long gloves. As my mother, a descendants of Chinese woman, since she was a teenager until the day he winner! Still wearing kebaya with batik long cloth.   

Gloves reunited both ends and stitched, while the fabric is not long. The head is generally shaped tumpal, roomates is lined triangles facing each other, placed in the front.
The descendants of Chinese women wearing batik sarong batik produced Descendants Chinese women entrepreneurs, in the cities of the north coast of Java, such as Pekalongan, called Batik coast.

Batik Batik coastal alias alias mistress Descendants Chinese women, characterized by brightly colored distinctive blend of Chinese and European and Chinese decorative freer; different from Yogyakarta and Solo batik style that tends colored and patterned Sogan traditional Javanese.

Assorted Batik Fabric Pekalongan long morning afternoon

Ssuai with Chinese Peranakan traditions are still strong run in the past, during bereavement (toa ha) Descendants Chinese women are not allowed to wear red, yellow, brown or purple. There is a special batik ha toa white base color with a pattern of blue and green. It is used at the funeral to the funeral home as well as during the period of mourning, for almost a year or three years.
    
Gloves are worn when his time of mourning (Toaha)

Kerancang and Kebaya Kebaya Embroidery

Towards the Japanese colonial era (1942-1945), grew Kerancang kebaya. Kerancang kebaya is called, finished in Sulan, kebaya punched in certain parts with small scissors. The resulting effect is like a kebaya lace holes, but covers a wider field than lace; at the back and even down to the waist. Modelkebaya Kerancang one time it was popular kebaya Solo Kerancang models.

After World War II evolved kebaya embroidery (borduur, dutch language, meaning, embroidery). True to its name, the machine-made embroidered kebaya embroidery with floral motifs and fauna.Apabila white lace kebaya, kebaya and kebaya embroidery Kerancang already using materials other colors, though still in pastel colors and colorful yarn chosen. The combination of colors matching makeup beautiful embroidered kebaya seen

  

kebaya Kerancang

  

kebaya embroidery with motifs shrimp

Kebaya

A Kebaya is a traditional blouse-dress combination from Indonesia and worn by women in Indonesia, Malaysia, Brunei,Burma, Singapore, southern Thailand.

A group of women posing in traditional Peranakan nonyakebaya

 It is sometimes made from sheer material such as silk, thin cotton or semi-transparent nylon or polyester, adorned with brocade or floral pattern embroidery. Kebaya usually worn with a sarong orbatik kain panjang, or other traditional woven garment such as ikat, songket with a colorful motif.




The kebaya is the national costume of Indonesia, although it is more accurately endemic to the Javanese, Sundanese andBalinese peoples.

Etymology

Kebaya is inspired from Arab region clothing the Arabic word abaya means clothing.

R.A. Kartini and her husband in 19th century

History
The earliest form of Kebaya originates in the court of the Javanese Majapahit Kingdom as a means to blend the existing female Kemban, torso wrap of the aristocratic women to be more modest and acceptable to the newly adopted Islam religion. Aceh, Riau and Johor Kingdoms and Northern Sumatra adopted the Javanese style kebaya as a means of social expression of status with the more alus or refined Javanese overlords.[3]

The name of Kebaya as a particular clothing type was noted by the Portuguese when they landed in Indonesia. Kebaya is associated with a type ofblouse worn by Indonesian women in 15th or 16th century. Prior to 1600, kebaya on Java island were considered as a sacred clothing to be worn only by royal family, aristocrats (bangsawan) and minor nobility, in an era when peasant men and many women walked publicly bare-chested.


Slowly it naturally spread to neighbouring areas through trade, diplomacy and social interactions to Malacca, Bali, Sumatra, Borneo, Sulawesi and theSultanate of Sulu and Mindanao  Javanese kebaya as known today were noted by Raffles in 1817, as being of silk, brocade and velvet, with the central opening of the blouse fastened by brooches, rather than button and button-holes over the torso wrap kemben, the kain (and unstitched wrap fabric several metres long erroneously termed 'sarong in English (a sarung (Malaysian accent: sarong) is stitched to form a tube, like a Western dress)After hundreds of years of regional acculturation, the garments have become highly localised expressions of ethnic culture, artistry and tailoring traditions.

The earliest photographic evidence of the kebaya as known today date from 1857 of Javanese, Peranakan and Eurasian styles.

An elderly Sundanesewoman wearing simple kebaya, kain batik and batik headcloth, West Java.

Indonesian maiden in kebaya and kain batik. The trace of kemban (torso wrap) can be seen underneath the semi-transparent brocadekebaya.


The quintessential kebaya is the Javanese kebaya as known today is essentially unchanged as noted by Raffles in 1817. It consists of the blouse (kebaya) of cotton , silk, lace, brocade or velvet, with the central opening of the blouse fastened by a central brooch (kerongsang) where the flaps of the blouse meet. Traditional kebaya had no buttons down the front. A typical three-piece kerongsang is composed of a kerongsang ibu (mother piece) that is larger and heavier than the other two kerongsang anak (child piece). Kerongsang brooch often made from gold jewelry and considered as the sign of social status of aristocracy, wealth and nobility, however for commoners and peasant women, simple and plain kebaya often only fastened with modestsafety pin (peniti).

The blouse is commonly semi-transparent and worn over the torso wrap or kemben. The skirt or kain is an unstitched fabric wrap around three metres long. The term sarong in English is erroneous, the sarung (Malaysian accent: sarong) is actually stitched together to form a tube, like a Western dress- the kain is unstitched, requires a helper to dress (literally wrap) the wearer and is held in place with a string (tali), then folded this string at the waist, then held with a belt (sabuk or ikat pinggang), which may hold a decorative pocket.

Varieties
There are two main varieties. The blouse, known as baju kebaya may be of two main form: the semi-transparent straighter cut blouse of the Java, Bali and the more tightly tailored Sunda kebaya and the more Islamic compatible, plainer baju kurung is a loose-fitting, knee-length long-sleeved blouse worn in the more adherent Muslim areas- including former Kingdom of Johor-Riau (now Malaysia), Sumatra and parts of coastal Java.

In Java, Bali and Sunda, the kain is commonly batik which may be from plain stamped cotton to elaborately hand-painted batik tulis embroidered silk with gold thread. In Lampung, the kain is the traditional tapis- an elaborate gold-thread embroidered ikat with small mica discs.Sumatera, Flores, Lemata Timor, and other islands commonly use kain of ikat or songket. Sumba is famous for kain decorated with lau hada: shells and beads.

During Dutch colonization of the island, European women began wearing the less restrictive and cooler kebaya as a formal or social dress. European women wore shorter sleeve and total length cotton in prints.

The day kebaya of the Indo Eurasians was of white cotton trimmed with European handmade lace- commonly from Bruges or Holland and black silk for evening wear.

In the Malacca region, a different variety of kebaya is called "nyonya kebaya" worn by those of Chinese ancestry: the Peranakan people. The Nyonya kebaya is different in its famously intricately hand-beaded shoes (kasut manek) and use of kain with Chinese motive batik or imported printed or hand-painted Chinese silks.

Political significance
The only woman present during Indonesia's Proclamation of Independence, Dutch-educated activist SK Trimurti- wore kebaya cementing it as the female dress of Nationalism.

In Japanese internment camps during the Second World War, Indonesian female prisoners refused to wear the Western dress allocated them and instead wore kebaya as a display of Nationalist and racial solidarity separate from fellow Chinese, Europeans and Eurasian inmates.

The 21st of April is celebrated in Indonesia as National Kartini Day where Raden Ajeng Kartini, the female suffragist and education advocate is remembered by schoolgirls wearing traditional dress according to their region. In Java, Bali and Sunda it is the kebaya.

Kebaya as the national costume of Indonesian women were often featured by Indonesian first ladies. The wives of Sukarno, Indonesian first president;Fatmawati Sukarno and Dewi Sukarno were known to wearing kebaya daily.

The Suharto-era bureaucrat wives' social organisation Dharma Wanita wears a uniform of gold kebaya, with a red sash (selendang) and stamped batik pattern on the kain unique to Dharma Wanita. The late Indonesian first lady and also a minor aristocrat Tien Suharto was a prominent advocate of the kebaya.

Former President Megawati Sukarnoputri is a public champion of kebaya and wears fine red kebaya whenever possible in public forums and 2009 Presidential election debates.

Cultural rivalry between Malaysia and Indonesia has given rise to media-based spats over the true ownership of the 'kebaya.
[edit]Modern usage and innovations

Garuda Indonesia flight attendant uniform in kebaya and kainbatik.


Apart from traditional kebaya, fashion designers are looking into ways of modifying the design and making kebaya a more fashionable outfit. Casual designed kebaya can even be worn with jeans or skirts. For weddings or formal events, many designers are exploring other types of fine fabrics like laces to create a bridal kebaya.

Modern-day kebaya now incorporate modern Western tailoring innovations such as clasps, zippers and buttons- zippers being a much appreciated addition for ladies' requiring the bathroom, without requiring being literally unwrapped by a helper- to the extent the true kain is near unanimously rejected. Other modern innovations have included the blouse baju kebaya worn without the restrictive kemben, and eve the kebaya blouse worn with slacks or made of the fabric usually for the kain panjang. The female flight attendant of Malaysia Airlines also featuring batik kebaya as their uniform.


The female uniform of Garuda Indonesia flight attendants is more authentic modern interpretations, the kebaya is designed in simple yet classic kartini style kebaya derived from 19th century kebaya of Javanese noblewomen. The kebaya made from fire-proof cotton-polyester fabrics, with batik sarongs in parang orlereng gondosuli motif, which also incorporate garuda's wing motif and small dots represent jasmine.