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Sharrona Valezka is a Jakarta-based fashion media practitioner with a BA (Hons) in Fashion Media and Industries from LASALLE College of the Arts. Her areas of interest include fashion histories, cultural studies, and intersections of fashion and art, particularly in Southeast Asia. Through her work, she hopes to uncover new perspectives on the region’s fashion practices.
Batik has been recognized as a symbol of heritage and craftsmanship in Indonesia. Its history dates back thousands of years. It is believed to have been introduced to the archipelago by traders from India and China. Over time, it has evolved into a distinct traditional art form, with each region developing its own unique style and motifs. Textile researcher Sylvia Fraser-Lu estimated in her book, Indonesian Batik: Processes, Patterns and Place, that there are over 3000 batik designs in existence, each illustrating motifs inspired by nature, mythology, and everyday life. [1] Today, the variety of batik patterns has become more accessible to the general public. Although new materials and patterns are continually being adapted to local needs and to satisfy the developing markets in modern times, [2] traditional techniques and craftsmanship are still highly valued. In Contemporary Indonesian Fashion: Through the Looking Glass, Alessandra Lopez y Royo explained that Indonesian fashion has undergone a period of rapid growth over the last three decades, claiming its own distinct identity as contemporary fashion in a global world. [3] In the present fashion landscape, local practitioners have been actively promoting Indonesian cultural identity, including batik. They are reimagining it in their contemporary practice and shaping a more substantial narrative in their collections.
Musim Rintik 2018 showcase, Sejauh Mata Memandang, 2018. Photo by Davy Linggar. Image courtesy of Sejauh Mata Memandang.This essay will analyze the works of Indonesian slow-fashion label Sejauh Mata Memandang and its reinvention of batik. Founded in 2014 by Jakarta-based fashion stylist and costume designer Chitra Subyakto, the brand focuses on creating contemporary garments made from traditional Indonesian textiles. Sejauh Mata Memandang collaborates with batik artisans from across the archipelago, including Java, Bali, and Sumba. They mainly practice the pattern-making techniques of batik tulis and batik cap. Batik tulis is made by drawing patterns with hot wax using canting, a spouted tool, whereas batik cap is printed with wax with a copper stamp called a cap.
Subyakto’s appreciation for Indonesian textiles stems from her upbringing. Her parents often took her to local museums, temples, and traditional performance shows. Subyakto’s mother, who collected batik from renowned designers such as Go Tik Swan, Iwan Tirta, and Obin, further influenced her fascination for textiles. The colorful hues of the batik collection had a significant impact on the decision to implement bright colors in Sejauh Mata Memandang’s pieces.
When talking about batik, many will instantly think of national costumes or garments for special occasions. With Sejauh Mata Memandang, Subyakto aims to create batik clothing that represents a contemporary take on Indonesia that appeals to the domestic and international markets of all ages. In her article, “Dreams of a Small Nation in a Polycentric Fashion World,” Lise Skov explained that searching for inspirations outside the conventional field of fashion could avoid cultural stereotypes, making sure that their version of the local was not obvious. [4] This statement reflects the brand’s commitment to avoid designs that look too traditional and instead opts for versatile casual pieces that can be worn in a daily setting.
In the local fashion industry, the label is known for its distinctive batik prints that depict the different aspects of Indonesia, from cultural practices, nature, landmarks, folklore, and food. Subyakto draws inspiration for her collections from her personal experiences and observations. They are often extracted from her domestic travels or from common activities and objects found in Indonesians’ daily lives. Sejauh Mata Memandang highlights local craftsmanship with a fresh approach to contemporary fashion while staying true to the traditional method of textile-making. The artisans the brand works with have applied these techniques to craft contemporary patterns on the textile, which illustrate a compelling narrative for each collection. The most recent one is Kudapan in 2023, in which traditional Indonesian snacks were reinterpreted into motifs.
Sejauh Mata Memandang’s success was achieved through design elements derived from various cultural aspects that are well-known to Indonesians. The Ministry of Culture and Tourism of the Republic of Indonesia wrote in Indonesian Batik: Transforming Tradition Into a Modern Trend that a key factor in these new design paradigms is to create a sense of place—a local identity that customers will recognize and identify with. [5] These elements are critical because they are immediately perceived by viewers, [6] thus allowing them to develop a sense of familiarity and attachment to the patterns. This essay will dive deeper into Sejauh Mata Memandang’s collection throughout the years in order to gain insights into the cultural signifiers of the batik patterns and the collection story that the designer wants to convey to the audience.
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Top: ‘Ayam di Taman’ scarf from ‘Noodle Bowl’ collection, Sejauh Mata Memandang, 2017. Image courtesy of Sejauh Mata Memandang.
Bottom: Ceramic rooster bowls. Image courtesy of Shutterstock.
Sejauh Mata Memandang’s inaugural collection, ‘Noodle Bowl’ was showcased in 2014 at Harper’s Bazaar Fashion Festival. The collection is notable for its iconic rooster pattern. As seen in Figure 2, ‘Ayam di Taman’ scarf features a hand-stamped geometric motif that is a modern reinterpretation of the rooster illustration found in ceramic noodle bowls. They are commonly used by noodle street vendors in Indonesia. Fraser-Lu explained that in Indonesian batik art, bird motifs have played an important role in both symbolism and ornament, where the rooster or chicken is traditionally a symbol of the sun, courage, and fertility. [7] The earthenware was first invented over a century ago in China by the Hakka community living in the Guangdong province. Each bowl depicts a black-tailed rooster with a red neck and trunk. In the context of the collection, Subyakto utilized the rooster pattern to convey national unity with a cultural association that transcends social and racial classes. It is indicated in the collection write-up on the brand’s website that the pattern also represents timelessness, as the cultural impact of the bowls is still prevalent today. [8]
Correspondingly, this is a value that Subyakto wanted to reflect in her garments. The rooster motif became synonymous with the brand and has become the recurring mascot of Sejauh Mata Memandang. Since it debuted in 2014, different iterations of the design element have been implemented in more recent collections, including the brand’s latest release, Tarum, in October 2023.
Subyakto’s appreciation for Indonesian textiles stems from her upbringing. Her parents often took her to local museums, temples, and traditional performance shows. Subyakto’s mother, who collected batik from renowned designers such as Go Tik Swan, Iwan Tirta, and Obin, further influenced her fascination for textiles. The colorful hues of the batik collection had a significant impact on the decision to implement bright colors in Sejauh Mata Memandang’s pieces.
When talking about batik, many will instantly think of national costumes or garments for special occasions. With Sejauh Mata Memandang, Subyakto aims to create batik clothing that represents a contemporary take on Indonesia that appeals to the domestic and international markets of all ages. In her article, “Dreams of a Small Nation in a Polycentric Fashion World,” Lise Skov explained that searching for inspirations outside the conventional field of fashion could avoid cultural stereotypes, making sure that their version of the local was not obvious. [4] This statement reflects the brand’s commitment to avoid designs that look too traditional and instead opts for versatile casual pieces that can be worn in a daily setting.
In the local fashion industry, the label is known for its distinctive batik prints that depict the different aspects of Indonesia, from cultural practices, nature, landmarks, folklore, and food. Subyakto draws inspiration for her collections from her personal experiences and observations. They are often extracted from her domestic travels or from common activities and objects found in Indonesians’ daily lives. Sejauh Mata Memandang highlights local craftsmanship with a fresh approach to contemporary fashion while staying true to the traditional method of textile-making. The artisans the brand works with have applied these techniques to craft contemporary patterns on the textile, which illustrate a compelling narrative for each collection. The most recent one is Kudapan in 2023, in which traditional Indonesian snacks were reinterpreted into motifs.
Sejauh Mata Memandang’s success was achieved through design elements derived from various cultural aspects that are well-known to Indonesians. The Ministry of Culture and Tourism of the Republic of Indonesia wrote in Indonesian Batik: Transforming Tradition Into a Modern Trend that a key factor in these new design paradigms is to create a sense of place—a local identity that customers will recognize and identify with. [5] These elements are critical because they are immediately perceived by viewers, [6] thus allowing them to develop a sense of familiarity and attachment to the patterns. This essay will dive deeper into Sejauh Mata Memandang’s collection throughout the years in order to gain insights into the cultural signifiers of the batik patterns and the collection story that the designer wants to convey to the audience.
Top: ‘Ayam di Taman’ scarf from ‘Noodle Bowl’ collection, Sejauh Mata Memandang, 2017. Image courtesy of Sejauh Mata Memandang.Bottom: Ceramic rooster bowls. Image courtesy of Shutterstock.
Symbolism in Sejauh Mata Memandang’s batik motifs
Sejauh Mata Memandang’s inaugural collection, ‘Noodle Bowl’ was showcased in 2014 at Harper’s Bazaar Fashion Festival. The collection is notable for its iconic rooster pattern. As seen in Figure 2, ‘Ayam di Taman’ scarf features a hand-stamped geometric motif that is a modern reinterpretation of the rooster illustration found in ceramic noodle bowls. They are commonly used by noodle street vendors in Indonesia. Fraser-Lu explained that in Indonesian batik art, bird motifs have played an important role in both symbolism and ornament, where the rooster or chicken is traditionally a symbol of the sun, courage, and fertility. [7] The earthenware was first invented over a century ago in China by the Hakka community living in the Guangdong province. Each bowl depicts a black-tailed rooster with a red neck and trunk. In the context of the collection, Subyakto utilized the rooster pattern to convey national unity with a cultural association that transcends social and racial classes. It is indicated in the collection write-up on the brand’s website that the pattern also represents timelessness, as the cultural impact of the bowls is still prevalent today. [8]
Correspondingly, this is a value that Subyakto wanted to reflect in her garments. The rooster motif became synonymous with the brand and has become the recurring mascot of Sejauh Mata Memandang. Since it debuted in 2014, different iterations of the design element have been implemented in more recent collections, including the brand’s latest release, Tarum, in October 2023.
Top: ‘Semanggi Traffic’ batik textile from ‘Semanggi’ collection, Sejauh Mata Memandang, 2017. Image courtesy of Sejauh Mata Memandang.Bottom: Semanggi Bridge, a cloverleaf interchange located in Jakarta's central business district. Photo by Alivikry Aerial. Image courtesy of the photographer.
“Sejauh Mata Memandang highlights local craftsmanship with a fresh approach to contemporary fashion while staying true to the traditional method of textile-making.”
The Semanggi collection (2017) is a collaboration with the Handicraft Council of Jakarta, a government body dedicated to incubating and training local artisans to improve the quality of their handicraft products. The visuals of the collection are inspired by the Semanggi Bridge, a cloverleaf interchange located in Jakarta's central business district that was inaugurated in 1962. ‘Semanggi’ was handcrafted with the batik tulis method by low-income housewives residing in government-funded housing complexes in Marunda, North Jakarta. They first underwent six months of training through the council to become skilled batik and embroidery artisans. In Figure 4, the textile motif depicts four-leaf clovers and traffic lines, symbolizing unity in diversity. Subyakto elaborated that the four parts of the leaf represent the North, South, West, and East regions of Jakarta, which are seamlessly connected with the interchange.
Left: ‘Lapis Sarong’ from ‘Kudapan’ collection, Sejauh Mata Memandang, 2023. Image courtesy of Sejauh Mata Memandang.Right: Kue lapis, a traditional Indonesian snack of steamed, layered soft rice flour pudding. Image courtesy of Shutterstock.
Left: ‘Lapis Onde Kebaya Panjang’ from ‘Kudapan’ collection, Sejauh Mata Memandang, 2023. Image courtesy of Sejauh Mata Memandang.
Right: Onde-onde, a traditional Indonesian snack of fried glutinous rice pastry coated with sesame seeds. Image courtesy of Frida Join Coffee.
In 2023, Sejauh Mata Memandang released Kudapan, a collection illustrating traditional Indonesian snacks. In Figure 7, Lapis Pagi Sore Sarong features a linear pattern that resembles the layers of kue lapis, a steamed, layered soft rice flour pudding. Another local snack known as onde-onde, a fried glutinous rice pastry coated with sesame seeds, is the inspiration for the circular batik motifs in ‘Lapis Onde Kebaya Panjang’ shown above. The label collaborated with artisans from Banyuwangi, East Java, who used the batik cap technique to hand stamp the patterns onto the textiles. The pastel shades dominating the collection represent the vibrant colors of the snacks. With Kudapan, traditional snacks are accentuated as an inseparable part of many Indonesians’ daily lives. Subyakto expressed that she wanted to convey the symbolism of kue lapis and onde-onde that are tied to local beliefs, where they represent auspiciousness and good fortune, respectively.
In Sejauh Mata Memandang’s endeavor to reintroduce batik to the younger generation, Subyakto believes the emotional and visual journey that her audience experiences are equally essential. Since the technique of advertising is to correlate feelings, moods, or attributes to tangible objects, [9] the brand has continually placed importance on communicating the narrative of the collections through offline activations. Although Sejauh Mata Memandang does not have a physical store, they boost their offline presence by carrying out exhibitions and pop-up stores, as well as distributing items at offline stockists such as department and concept stores. Subyakto remarked that presenting the brand’s collections through exhibitions leaves a more significant impact as compared to fashion showcases. [10] The past exhibitions that the brand has organized have proved to attract a larger audience that wishes to see the garments and textiles in person. As a result, Subyakto has been able to convey Sejauh Mata Memandang’s values and collection story in a more cohesive and intimate way.
Cultural storytelling through exhibitions
In Sejauh Mata Memandang’s endeavor to reintroduce batik to the younger generation, Subyakto believes the emotional and visual journey that her audience experiences are equally essential. Since the technique of advertising is to correlate feelings, moods, or attributes to tangible objects, [9] the brand has continually placed importance on communicating the narrative of the collections through offline activations. Although Sejauh Mata Memandang does not have a physical store, they boost their offline presence by carrying out exhibitions and pop-up stores, as well as distributing items at offline stockists such as department and concept stores. Subyakto remarked that presenting the brand’s collections through exhibitions leaves a more significant impact as compared to fashion showcases. [10] The past exhibitions that the brand has organized have proved to attract a larger audience that wishes to see the garments and textiles in person. As a result, Subyakto has been able to convey Sejauh Mata Memandang’s values and collection story in a more cohesive and intimate way.
Top: Jakarta Kita exhibition, Sejauh Mata Memandang, 2017. Photo by Dominicus Damaran. Image courtesy of Manual Jakarta.In May 2017, Subyakto, with the Handicraft Council of Jakarta, organized Jakarta Kita, an exhibition to celebrate the launch of the ‘Semanggi’ collection. Taking place at the Jakarta Creative Hub, it was held to introduce the new batik motif, which Subyakto dubbed batik semanggi. To complement the narrative of the collection, Jakarta Kita displayed supporting elements that are commonly found on the roadsides of Jakarta, from corrugated steel panels that featured the event’s posters to a bajaj, a three-wheeled vehicle used as public transportation in the city, which was used as a centerpiece.
Timun Mas exhibition, Sejauh Mata Memandang, 2018. Photo by Davy Linggar. Image courtesy of Sejauh Mata Memandang.In addition to promoting collection launches, Subyakto also utilizes exhibitions to introduce and educate their audiences on the nation’s diverse culture. One notable example is Timun Mas, an art exhibition that was presented as a part of Sejauh Mata Memandang’s Musim Rintik 2018 collection. The event took place in Senayan City and was opened to the public in November 2018. It highlighted the namesake folktale from Central Java, which also serves as the main inspiration for the collection. Subyakto instilled visual elements and symbols from the folktale into the exhibition details. The space was mainly covered with scrap fabrics in various lengths that resemble cave stalactites, a nod to the cave where the giant lives in the story. These fabrics, which were left over from the collection’s production process, were hung from the ceiling alongside the batik pieces of Musim Rintik 2018. Within the area was also a pop-up shop section displaying a range of the brand’s products, including the latest collection.
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Timun Mas exhibition, Sejauh Mata Memandang, 2018. Photo by Davy Linggar. Image courtesy of Sejauh Mata Memandang.
Another prominent aspect was a spot where visitors could watch the animated short film retelling of the folktale played on loop with a projector. In addition, Subyakto produced illustrated Timun Mas story books embroidered on leftover fabric. She elaborated that the brand aimed to convey a story to educate its audiences, especially the younger generations, on different forms of Iocal culture, such as folktales. Overall, the event provided an immersive experience that took the collection's narrative beyond textiles. This reflects back to Sejauh Mata Memandang’s practice, which is deeply rooted in cultural storytelling.
The present fashion industry provides Indonesian brands and designers the opportunity to reinvent Indonesian culture, including traditional textiles. A prominent example of this statement can be seen in Sejauh Mata Memandang’s practice of redefining the concept of batik while maintaining its cultural essence. It embodies a balanced view that is needed to create a productive dialog between the traditionalist and modernist views surrounding batik in order to address the general problem of how local cultural identities find their expression in an era of globalization. [11] Seeking to render batik’s relevance in the daily lives of Indonesians, the brand uses contemporary prints derived from cultural aspects recognizable to Indonesians, which are significant in conveying the narrative of each collection. It builds an emotional connection with the customers by relying on visual elements that evoke nostalgia. As a result, their audiences develop a sense of familiarity and attachment to their pieces. Subyakto and her team also stay true to the traditional batik-making techniques to preserve the generational-old craft while simultaneously enhancing the livelihoods of the artisans across the archipelago. With this, Sejauh Mata Memandang further establishes itself as one of the Indonesian fashion labels that celebrates the traditional craftsmanship of textile-making.
Notes: Sejauh Mata Memandang
[1] Sylvia Fraser-Lu, Indonesian Batik: Processes, Patterns and Place (Oxford: Oxford University Press, 1986), 28.
[2] The Ministry of Culture and Tourism of the Republic of Indonesia, Indonesian Batik: Transforming Tradition Into a Modern Trend (Jakarta: Ministry of Culture and Tourism of the Republic of Indonesia, 2008), 31.
[3] Alessandra Lopez y Royo, Contemporary Indonesian Fashion: Through the Looking Glass (London: Bloomsbury Visual Arts, 2020), 23.
[4] Lise Skov, “Dreams of Small Nations in a Polycentric Fashion World." Fashion Theory 15.2 (2011): 137-56. Taylor & Francis Online, April 2015, https://www.tandfonline.com/doi/abs/10.2752/175174111X12954359478609
[5] The Ministry of Culture and Tourism of the Republic of Indonesia, Indonesian Batik: Transforming Tradition Into a Modern Trend, 60.
[6] Colin Ware, Visual Design Thinking (Massachusetts: Morgan Kaufmann Publishers, 2011), 132.
[7] Fraser-Lu, Indonesian Batik: Processes, Patterns and Place, 46.
[8] “The Noodle Bowl Collection.” Sejauh Mata Memandang.
https://sejauh.com/collections/the-noodle-bowl-collection. Accessed 20 January 2024.
[9] Judith Williamson, Decoding Advertisements: Ideology and Meaning in Advertising (Marion Boyars, 2010), 31.
[10] Beata Primana, “Sejauh Mata Memandang, Storytelling Through Indonesian Textiles.” Dew Magazine, January 2019, dewmagazine.com/sejauh-mata-memandang-storytelling-through-indonesian-textiles/. Accessed 14 December 2023.
[11] The Ministry of Culture and Tourism of the Republic of Indonesia, Indonesian Batik: Transforming Tradition Into a Modern Trend, 54.
Timun Mas exhibition, Sejauh Mata Memandang, 2018. Photo by Davy Linggar. Image courtesy of Sejauh Mata Memandang.
Another prominent aspect was a spot where visitors could watch the animated short film retelling of the folktale played on loop with a projector. In addition, Subyakto produced illustrated Timun Mas story books embroidered on leftover fabric. She elaborated that the brand aimed to convey a story to educate its audiences, especially the younger generations, on different forms of Iocal culture, such as folktales. Overall, the event provided an immersive experience that took the collection's narrative beyond textiles. This reflects back to Sejauh Mata Memandang’s practice, which is deeply rooted in cultural storytelling.
Conclusion
The present fashion industry provides Indonesian brands and designers the opportunity to reinvent Indonesian culture, including traditional textiles. A prominent example of this statement can be seen in Sejauh Mata Memandang’s practice of redefining the concept of batik while maintaining its cultural essence. It embodies a balanced view that is needed to create a productive dialog between the traditionalist and modernist views surrounding batik in order to address the general problem of how local cultural identities find their expression in an era of globalization. [11] Seeking to render batik’s relevance in the daily lives of Indonesians, the brand uses contemporary prints derived from cultural aspects recognizable to Indonesians, which are significant in conveying the narrative of each collection. It builds an emotional connection with the customers by relying on visual elements that evoke nostalgia. As a result, their audiences develop a sense of familiarity and attachment to their pieces. Subyakto and her team also stay true to the traditional batik-making techniques to preserve the generational-old craft while simultaneously enhancing the livelihoods of the artisans across the archipelago. With this, Sejauh Mata Memandang further establishes itself as one of the Indonesian fashion labels that celebrates the traditional craftsmanship of textile-making.
Notes: Sejauh Mata Memandang
[1] Sylvia Fraser-Lu, Indonesian Batik: Processes, Patterns and Place (Oxford: Oxford University Press, 1986), 28.
[2] The Ministry of Culture and Tourism of the Republic of Indonesia, Indonesian Batik: Transforming Tradition Into a Modern Trend (Jakarta: Ministry of Culture and Tourism of the Republic of Indonesia, 2008), 31.
[3] Alessandra Lopez y Royo, Contemporary Indonesian Fashion: Through the Looking Glass (London: Bloomsbury Visual Arts, 2020), 23.
[4] Lise Skov, “Dreams of Small Nations in a Polycentric Fashion World." Fashion Theory 15.2 (2011): 137-56. Taylor & Francis Online, April 2015, https://www.tandfonline.com/doi/abs/10.2752/175174111X12954359478609
[5] The Ministry of Culture and Tourism of the Republic of Indonesia, Indonesian Batik: Transforming Tradition Into a Modern Trend, 60.
[6] Colin Ware, Visual Design Thinking (Massachusetts: Morgan Kaufmann Publishers, 2011), 132.
[7] Fraser-Lu, Indonesian Batik: Processes, Patterns and Place, 46.
[8] “The Noodle Bowl Collection.” Sejauh Mata Memandang.
https://sejauh.com/collections/the-noodle-bowl-collection. Accessed 20 January 2024.
[9] Judith Williamson, Decoding Advertisements: Ideology and Meaning in Advertising (Marion Boyars, 2010), 31.
[10] Beata Primana, “Sejauh Mata Memandang, Storytelling Through Indonesian Textiles.” Dew Magazine, January 2019, dewmagazine.com/sejauh-mata-memandang-storytelling-through-indonesian-textiles/. Accessed 14 December 2023.
[11] The Ministry of Culture and Tourism of the Republic of Indonesia, Indonesian Batik: Transforming Tradition Into a Modern Trend, 54.
Issue 13 ︎︎︎ Fashion & Politics
Issue 13 ︎︎︎ Fashion & Politics