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Rohaizatul Azhar is a fashion lecturer at LASALLE College of the Arts, University of the Arts Singapore. Passionate about Malay culture, decolonization, and critical thinking in fashion, he specializes in cultural studies in fashion. He also has over a decade of experience in journalism and has interviewed numerous fashion icons and celebrities.
As a fashion academic and a consumer of Behati, a Malaysian fashion label, I have been intrigued by how the brand reimagines traditional and ethnic outfits within a contemporary fashion space. In 2023, I had the privilege of interviewing the creative director, Tan Kel Wen, to find out more about his design process. In our conversation, he emphasized that traditional clothing is not just about wearing it as it is, but “understanding its history and how it can evolve.” This article draws on our interactions and will provide some firsthand insights into the brand’s philosophy and practices.
When we spoke, Tan had just released the Pahlawan collection. The collection features reworks of some of his more popular designs throughout the years. “The Pahlawan collection is a tribute to my customers. In Malaysia, pahlawan means warrior, and I see my customers as fighters. Many people in Malaysia resist what Behati is doing, but with the support of my customers, I feel immense pride. This pride stems from the struggle and the movement we are part of. It is not just about creating beautiful clothes but about making a statement,” Tan explained.
However, before delving into its practices and philosophy, it is important to examine the broader context in which Behati exists. The Southeast Asian fashion landscape has undergone significant developments in recent years, with more designers working towards preserving traditional cultural practices and designs. There is also more emphasis placed on the idea of decolonization within the fashion system. Drawing from their rich cultural heritage, designers in the region are incorporating traditional fabrics and techniques into their designs to challenge Western-centric norms.
This movement asserts the value and relevance of local traditions in the modern fashion landscape. In The Wretched Earth, philosopher Frantz Fanon suggests that decolonization represents the journey of liberating colonized minds and spaces from the constraints and ideologies of Western imperialists. This move calls for Indigenous identities to be celebrated and honored by dismantling the colonial ideologies that have been imposed on them for many years. [1] By blending traditional techniques, textiles, and motifs with modern designs, these designers try to reclaim and present their cultural identities on a global stage. While these may be seen as mere aesthetic innovations, it is important to note that these designers seek to dismantle colonial legacies. They do so by celebrating Indigenous identities to make a political and cultural statement.
For instance, traditional Malay attire, such as the baju kurung and baju kebaya, hold significant cultural and historical value. While these garments reflect the rich heritage of the Malay people, the region’s colonial history has led to the marginalization and commodification of these traditional forms. The marginalization of traditional Malay attire can be traced back to the British colonial era, which began in the late 18th century and continued until the mid-20th century. During this period, Western fashion and cultural norms were often imposed on the local population. The colonial administration and European settlers viewed Western attire as superior, relegating traditional Malay clothing to a secondary status. This was part of a broader strategy to assert cultural dominance and control over the colonized population. [2] As Western clothing became associated with modernity and progress, traditional Malay garments were increasingly seen as outdated and backward. For example, advertisements in colonial Malaya for Western clothing brands emphasized the modern and civilized nature of Western suits and dresses. This indirectly suggests that traditional attire was inferior and unsuitable for the modern world. This shift in perception was further reinforced through various colonial policies and social practices, where traditional clothes were often worn at cultural festivals and special occasions, rather than Western outfits, which are chosen for professional and educational settings. This became the standard dress code and reinforced the idea of modernity. This standard dress code prevails today.
In this context, many Southeast Asian designers are working to reclaim their cultural heritage and to present collections that celebrate traditional techniques and clothing that were once deemed traditional rather than modern. One of the many examples of a contemporary brand that seeks to reclaim and re-present traditional attire is Behati. Founded by Tan in 2018, the brand integrates traditional techniques with contemporary designs, challenging the residual colonial mindset marginalizing Indigenous sartorial heritage. This move resonates with Gayatri Chakravorty Spivak's critical interrogations. In her essay “Can the Subaltern Speak?” Spivak underscores the challenge the marginalized—the subaltern—faces in having their voices heard within dominant discourses. As these designers bring their native traditions into the spotlight, they provide a platform for the subaltern voices of their cultures, ensuring they are not just spoken about but are speaking loud and clear. [3]
This reclamation of cultural identity is not confined to individual designers but is indicative of a broader movement in Southeast Asia. As Behati gains popularity, Tan observes this broader shift in the region towards embracing and valuing traditional styles that incorporate diverse cultural elements. "There's a growing appreciation for traditional wear with a modern twist, as evidenced by the increasing interest from younger generations in Malaysia and beyond," Tan shared. "This shift is crucial for cultural preservation and evolution, allowing individuals to celebrate their heritage in everyday life, not just during festive occasions. Through Behati, we're witnessing a transformation in cultural expression, where traditional attire becomes a part of daily fashion, bridging the past with the present and shaping a future where cultural wear is celebrated and valued."
It is important to also highlight that the brand's design and Tan's affection for Malaysia's diverse culture have attracted criticism from various communities. Critics have accused him of cultural appropriation, questioning his position as a Chinese designer reinterpreting Malay ethnic attire. Tan, however, dismisses these criticisms while reasserting that Malaysia’s cultural diversity fosters such cultural exchanges. To him, there is nothing wrong in “taking inspiration from each other’s culture when [we] basically grew up with it.” To a large extent, I have to agree. Tan’s designs are not based on whims but on thorough visual research. He draws from historical visual images and reinterprets them to fit contemporary contexts. This approach aligns with the idea that colonial and postcolonial identities intertwine to create a more dynamic cultural expression. [4]
![]()
The oversized tanjak at the Behati show at Kuala Lumpur Fashion Week 2023. Source: Behati, YouTube.
Tan's design process often involves deep cultural symbolism. In his Pahlawan collection, shown at the Kuala Lumpur Fashion Week in 2023, he reimagined the traditional Malay tanjak, a headgear, by creating an oversized version. Noting that his design reflects his journey as a millennial Chinese man in Malaysia, Tan explains that the tanjak symbolizes “a throne or crown, and by enlarging it, [he] wanted to make a bold statement.” This piece was carried onto the runway by two Chinese men and accompanied by Chinese men playing the kompang, a traditional Malay percussion instrument. He wanted to make a bold statement with the tanjak, symbolizing a throne or crown to showcase Malaysia's cultural fusion's beauty.
When we spoke, Tan had just released the Pahlawan collection. The collection features reworks of some of his more popular designs throughout the years. “The Pahlawan collection is a tribute to my customers. In Malaysia, pahlawan means warrior, and I see my customers as fighters. Many people in Malaysia resist what Behati is doing, but with the support of my customers, I feel immense pride. This pride stems from the struggle and the movement we are part of. It is not just about creating beautiful clothes but about making a statement,” Tan explained.
However, before delving into its practices and philosophy, it is important to examine the broader context in which Behati exists. The Southeast Asian fashion landscape has undergone significant developments in recent years, with more designers working towards preserving traditional cultural practices and designs. There is also more emphasis placed on the idea of decolonization within the fashion system. Drawing from their rich cultural heritage, designers in the region are incorporating traditional fabrics and techniques into their designs to challenge Western-centric norms.
This movement asserts the value and relevance of local traditions in the modern fashion landscape. In The Wretched Earth, philosopher Frantz Fanon suggests that decolonization represents the journey of liberating colonized minds and spaces from the constraints and ideologies of Western imperialists. This move calls for Indigenous identities to be celebrated and honored by dismantling the colonial ideologies that have been imposed on them for many years. [1] By blending traditional techniques, textiles, and motifs with modern designs, these designers try to reclaim and present their cultural identities on a global stage. While these may be seen as mere aesthetic innovations, it is important to note that these designers seek to dismantle colonial legacies. They do so by celebrating Indigenous identities to make a political and cultural statement.
For instance, traditional Malay attire, such as the baju kurung and baju kebaya, hold significant cultural and historical value. While these garments reflect the rich heritage of the Malay people, the region’s colonial history has led to the marginalization and commodification of these traditional forms. The marginalization of traditional Malay attire can be traced back to the British colonial era, which began in the late 18th century and continued until the mid-20th century. During this period, Western fashion and cultural norms were often imposed on the local population. The colonial administration and European settlers viewed Western attire as superior, relegating traditional Malay clothing to a secondary status. This was part of a broader strategy to assert cultural dominance and control over the colonized population. [2] As Western clothing became associated with modernity and progress, traditional Malay garments were increasingly seen as outdated and backward. For example, advertisements in colonial Malaya for Western clothing brands emphasized the modern and civilized nature of Western suits and dresses. This indirectly suggests that traditional attire was inferior and unsuitable for the modern world. This shift in perception was further reinforced through various colonial policies and social practices, where traditional clothes were often worn at cultural festivals and special occasions, rather than Western outfits, which are chosen for professional and educational settings. This became the standard dress code and reinforced the idea of modernity. This standard dress code prevails today.
In this context, many Southeast Asian designers are working to reclaim their cultural heritage and to present collections that celebrate traditional techniques and clothing that were once deemed traditional rather than modern. One of the many examples of a contemporary brand that seeks to reclaim and re-present traditional attire is Behati. Founded by Tan in 2018, the brand integrates traditional techniques with contemporary designs, challenging the residual colonial mindset marginalizing Indigenous sartorial heritage. This move resonates with Gayatri Chakravorty Spivak's critical interrogations. In her essay “Can the Subaltern Speak?” Spivak underscores the challenge the marginalized—the subaltern—faces in having their voices heard within dominant discourses. As these designers bring their native traditions into the spotlight, they provide a platform for the subaltern voices of their cultures, ensuring they are not just spoken about but are speaking loud and clear. [3]
This reclamation of cultural identity is not confined to individual designers but is indicative of a broader movement in Southeast Asia. As Behati gains popularity, Tan observes this broader shift in the region towards embracing and valuing traditional styles that incorporate diverse cultural elements. "There's a growing appreciation for traditional wear with a modern twist, as evidenced by the increasing interest from younger generations in Malaysia and beyond," Tan shared. "This shift is crucial for cultural preservation and evolution, allowing individuals to celebrate their heritage in everyday life, not just during festive occasions. Through Behati, we're witnessing a transformation in cultural expression, where traditional attire becomes a part of daily fashion, bridging the past with the present and shaping a future where cultural wear is celebrated and valued."
It is important to also highlight that the brand's design and Tan's affection for Malaysia's diverse culture have attracted criticism from various communities. Critics have accused him of cultural appropriation, questioning his position as a Chinese designer reinterpreting Malay ethnic attire. Tan, however, dismisses these criticisms while reasserting that Malaysia’s cultural diversity fosters such cultural exchanges. To him, there is nothing wrong in “taking inspiration from each other’s culture when [we] basically grew up with it.” To a large extent, I have to agree. Tan’s designs are not based on whims but on thorough visual research. He draws from historical visual images and reinterprets them to fit contemporary contexts. This approach aligns with the idea that colonial and postcolonial identities intertwine to create a more dynamic cultural expression. [4]
The oversized tanjak at the Behati show at Kuala Lumpur Fashion Week 2023. Source: Behati, YouTube.Tan's design process often involves deep cultural symbolism. In his Pahlawan collection, shown at the Kuala Lumpur Fashion Week in 2023, he reimagined the traditional Malay tanjak, a headgear, by creating an oversized version. Noting that his design reflects his journey as a millennial Chinese man in Malaysia, Tan explains that the tanjak symbolizes “a throne or crown, and by enlarging it, [he] wanted to make a bold statement.” This piece was carried onto the runway by two Chinese men and accompanied by Chinese men playing the kompang, a traditional Malay percussion instrument. He wanted to make a bold statement with the tanjak, symbolizing a throne or crown to showcase Malaysia's cultural fusion's beauty.
The folding technique of the tanjak is used to create other garments in the Pahlawan collection.
“...many Southeast Asian designers are working to reclaim their cultural heritage and to present collections that celebrate traditional techniques and clothing that were once deemed traditional rather than modern.”
Additionally, he incorporated traditional tanjak folding techniques to construct a modern cropped top and skirt by using the intricate folds to create a unique and culturally significant design. The folding techniques were also used to create other garments inspired by the shape of roses. During our conversation, Tan explained that the incorporation of these techniques into modern designs, such as a cropped top and skirt, allows for the preservation of cultural authenticity while innovating to suit contemporary aesthetics.
Tan consistently attempts to preserve essential elements of the baju Melayu, a traditional Malay outfit worn by males and characterized by its stiff, elevated collar, and three patch pockets. When discussing how he balances traditional elements with contemporary trends, Tan notes: “Incorporating traditional elements into contemporary fashion is about understanding and respecting their essence. For instance, we retain the use of pesak, cekak musang collar, and traditional pockets in our designs while introducing oversized silhouettes and modern materials.” These traditional design elements, such as the elevated stiff collar (known in Malay as the cekak musang) and the three patch pockets, are carefully maintained to conserve the garment's cultural value. However, Tan also recognizes the necessity of adapting certain aspects to align with contemporary preferences. The omission of specific features, like the circular diamond-like studs connected to the placket (known as the kancing) and the traditional songket wrapped around the wearer's waist, reflects Behati's deliberate adaptation strategy. By selectively retaining significant elements like the cekak musang, material choice, featured pockets, and garment structure while excluding other components such as the kancing or the use of songket as an accessory, Behati honours tradition while re-contextualizing it for the modern era. This approach ensures that traditional attire resonates with today's audience and contributes to the ongoing and evolving narrative of Malay cultural identity.
![]()
The traditional baju Melayu is made oversized by through the use of a widened pesak, which is the gusset that combines the sleeves with the garment's body and is often used in traditional Malay wear.
Instead of the typical loose-fit but tailored design, Tan opted for a more oversized silhouette. This was achieved through the use of a widened pesak, which is the gusset that combines the sleeves with the garment's body and is often used in traditional Malay wear. Here, it can be assumed that Behati's incorporation of prominently oversized, boxy silhouettes into their designs aligns with the current trend towards exaggerated proportions on contemporary runways.
Tan consistently attempts to preserve essential elements of the baju Melayu, a traditional Malay outfit worn by males and characterized by its stiff, elevated collar, and three patch pockets. When discussing how he balances traditional elements with contemporary trends, Tan notes: “Incorporating traditional elements into contemporary fashion is about understanding and respecting their essence. For instance, we retain the use of pesak, cekak musang collar, and traditional pockets in our designs while introducing oversized silhouettes and modern materials.” These traditional design elements, such as the elevated stiff collar (known in Malay as the cekak musang) and the three patch pockets, are carefully maintained to conserve the garment's cultural value. However, Tan also recognizes the necessity of adapting certain aspects to align with contemporary preferences. The omission of specific features, like the circular diamond-like studs connected to the placket (known as the kancing) and the traditional songket wrapped around the wearer's waist, reflects Behati's deliberate adaptation strategy. By selectively retaining significant elements like the cekak musang, material choice, featured pockets, and garment structure while excluding other components such as the kancing or the use of songket as an accessory, Behati honours tradition while re-contextualizing it for the modern era. This approach ensures that traditional attire resonates with today's audience and contributes to the ongoing and evolving narrative of Malay cultural identity.
The traditional baju Melayu is made oversized by through the use of a widened pesak, which is the gusset that combines the sleeves with the garment's body and is often used in traditional Malay wear.Instead of the typical loose-fit but tailored design, Tan opted for a more oversized silhouette. This was achieved through the use of a widened pesak, which is the gusset that combines the sleeves with the garment's body and is often used in traditional Malay wear. Here, it can be assumed that Behati's incorporation of prominently oversized, boxy silhouettes into their designs aligns with the current trend towards exaggerated proportions on contemporary runways.
The traditional songket sampin, typically worn over the pants of baju Melayu for men, is swapped with a tailored and more structured version using the same material as the clothes.
For his Eid 2024 collection, Tan swapped the traditional songket sampin, which is typically worn over the pants of baju Melayu for men, with a tailored and more structured version using the same material as the clothes. This design choice sparked controversy, as some perceived it as putting a skirt on a man. Tan addressed this criticism on Instagram, explaining that the sampin is a traditional Malay styling piece known as Kain Dagang or Merchant Cloth. He took inspiration from the word dagang, or business, to create a sampin suited for the modern business look. He also pointed out that the traditional sampin often falls off, and his design re-engineers it for better functionality and comfort, preserving the pleating art inspired by traditional Ikatan Lingkup and adding practical features like pockets for carrying modern essentials such as phones and wallets. He concluded that his design aims to evolve the sampin from the traditional to the modern, while maintaining its cultural essence and making it suitable for daily wear.
Behati's approach extends beyond mere aesthetics as he delves into the traditional or ethnic attire's deeper cultural and historical contexts. The brand’s designs preserve the essence of traditional garments and adapt them to contemporary lifestyles. This balance of tradition and modernity is evident in Behati's diverse collections, which often feature elements from various Malaysian cultures, including those from Borneo.
Incorporating traditional techniques such as the Perintis (pioneering) technique, Behati showcases the rich diversity of Malaysian cultural practices. For instance, Tan introduced an oversized cape jacket featuring the Perintis technique, worn by Malaysian singer Aina Abdul at a red carpet event. This garment is another example of how Behati attempts to preserve culture while pushing the boundaries of contemporary fashion. This technique, which involves intricate work with materials like bamboo and rattan, was prominently featured in the oversized cape jacket.
Behati's approach extends beyond mere aesthetics as he delves into the traditional or ethnic attire's deeper cultural and historical contexts. The brand’s designs preserve the essence of traditional garments and adapt them to contemporary lifestyles. This balance of tradition and modernity is evident in Behati's diverse collections, which often feature elements from various Malaysian cultures, including those from Borneo.
Incorporating traditional techniques such as the Perintis (pioneering) technique, Behati showcases the rich diversity of Malaysian cultural practices. For instance, Tan introduced an oversized cape jacket featuring the Perintis technique, worn by Malaysian singer Aina Abdul at a red carpet event. This garment is another example of how Behati attempts to preserve culture while pushing the boundaries of contemporary fashion. This technique, which involves intricate work with materials like bamboo and rattan, was prominently featured in the oversized cape jacket.
A behind-the-scenes look at Tan working with bamboo poles to create a larger-than life oversized jacket for Malaysian singer Aina Abdul.Tan asserts that Malaysians should enjoy a “true” Malaysian lifestyle by learning from each other's cultures. "While researching Borneo bamboo tikar, I got the idea to use bamboo with rattan as the base structure of the garment. It felt very Malaysian. Instead of outsourcing, I used the Perintis technique to build the suit's inner structure. This method is almost couture in its precision and care," he shared on his Instagram. This approach challenges the negative perceptions associated with cultural appropriation while promoting a healthy and respectful exchange of cultural ideas.
Behati’s design philosophy also attempts at integrating traditional and cultural elements into contemporary fashion. "When I develop a collection, I need to learn new techniques. Even though I have been using the Perintis technique since I was in high school, the idea of using bamboo came from attending talks about Borneo culture. Bamboo is such a Malaysian element that it is pretty untouched in fashion. When the opportunity for a red carpet event arose, I thought it would be perfect to incorporate bamboo, even though it might be difficult for everyday wear," Tan shared.
![]()
Malaysian singer Aina Abdul in the completed oversized velvet puffer suit from Behati on the red carpet of the Anugerah Bintang Popular Berita Harian.
The construction of large garments, such as the oversized cape jacket, which took him three days to complete, requires careful weight management. Tan chose velvet for its aesthetics despite its heaviness, and shared that designing the structure required strategic positioning of bamboo and rattan around the shoulders to support the garment's frame. This meticulous approach ensures that Behati's designs honor the traditions that have shaped them, contributing to the ongoing dialogue of cultural preservation and innovation.
Tan's vision for Behati extends beyond the Malaysian borders. He aims to introduce Malaysian culture to a global audience and influence Western fashion. However, he acknowledges the challenges in achieving this goal. "Western audiences still struggle to understand and appreciate our cultural nuances fully," Tan admitted. To bridge this gap, Behati focuses on growing its presence in Asia, particularly Malaysia, before expanding further into international markets.
While his aspirations for Behati are ambitious, Tan envisions Behati as a cultural ambassador that offers visitors a deeper connection to Malaysian culture through fashion. He attempts to incorporate trending elements into his designs to balance cultural elements with contemporary trends. "We have customers from New York, London, and other parts of the world, so it is important to balance cultural elements with contemporary trends," he noted. Here, his goal is to reinforce and evolve Malaysian cultural identity through his designs.
Beyond mere aesthetics, Behati aims to promote racial harmony through the celebration of Malaysia's rich diversity of cultural practices. To Tan, it is about celebrating all aspects of Malaysian culture; not just race but also the rich diversity of cultural practices within Malaysia.
Notes: Re-Threading Culture
[1] Fanon, Frantz. The Wretched Earth. Grove Press, 1963.
[2] Khoo, Gaik Cheng. Reclaiming Adat: Contemporary Malaysian Film and Literature. UBC Press, 2006.
[3] Spivak, Gayatri Chakravorty. "Can the Subaltern Speak?" In Colonial Discourse and Post-Colonial Theory, edited by Patrick Williams and Laura Chrisman, 66-111. Columbia University Press, 1994.
[4] Ashcroft, Bill, Gareth Griffiths, and Helen Tiffin. The Post-Colonial Studies Reader. Routledge, 2006.
Behati’s design philosophy also attempts at integrating traditional and cultural elements into contemporary fashion. "When I develop a collection, I need to learn new techniques. Even though I have been using the Perintis technique since I was in high school, the idea of using bamboo came from attending talks about Borneo culture. Bamboo is such a Malaysian element that it is pretty untouched in fashion. When the opportunity for a red carpet event arose, I thought it would be perfect to incorporate bamboo, even though it might be difficult for everyday wear," Tan shared.
Malaysian singer Aina Abdul in the completed oversized velvet puffer suit from Behati on the red carpet of the Anugerah Bintang Popular Berita Harian.The construction of large garments, such as the oversized cape jacket, which took him three days to complete, requires careful weight management. Tan chose velvet for its aesthetics despite its heaviness, and shared that designing the structure required strategic positioning of bamboo and rattan around the shoulders to support the garment's frame. This meticulous approach ensures that Behati's designs honor the traditions that have shaped them, contributing to the ongoing dialogue of cultural preservation and innovation.
Tan's vision for Behati extends beyond the Malaysian borders. He aims to introduce Malaysian culture to a global audience and influence Western fashion. However, he acknowledges the challenges in achieving this goal. "Western audiences still struggle to understand and appreciate our cultural nuances fully," Tan admitted. To bridge this gap, Behati focuses on growing its presence in Asia, particularly Malaysia, before expanding further into international markets.
While his aspirations for Behati are ambitious, Tan envisions Behati as a cultural ambassador that offers visitors a deeper connection to Malaysian culture through fashion. He attempts to incorporate trending elements into his designs to balance cultural elements with contemporary trends. "We have customers from New York, London, and other parts of the world, so it is important to balance cultural elements with contemporary trends," he noted. Here, his goal is to reinforce and evolve Malaysian cultural identity through his designs.
Beyond mere aesthetics, Behati aims to promote racial harmony through the celebration of Malaysia's rich diversity of cultural practices. To Tan, it is about celebrating all aspects of Malaysian culture; not just race but also the rich diversity of cultural practices within Malaysia.
Notes: Re-Threading Culture
[1] Fanon, Frantz. The Wretched Earth. Grove Press, 1963.
[2] Khoo, Gaik Cheng. Reclaiming Adat: Contemporary Malaysian Film and Literature. UBC Press, 2006.
[3] Spivak, Gayatri Chakravorty. "Can the Subaltern Speak?" In Colonial Discourse and Post-Colonial Theory, edited by Patrick Williams and Laura Chrisman, 66-111. Columbia University Press, 1994.
[4] Ashcroft, Bill, Gareth Griffiths, and Helen Tiffin. The Post-Colonial Studies Reader. Routledge, 2006.
Issue 13 ︎︎︎ Fashion & Politics
Issue 13 ︎︎︎ Fashion & Politics