More than just a garment, the kebaya symbolises female empowerment

When Raymond Wong conceptualised the wardrobe for Emerald Hill, the spin-off of Mediacorp’s hit TV series The Little Nyonya, he incorporated traditional Chinese motifs into the kebayas worn by the show’s individual characters.

The veteran kebaya maker and committee member of The Peranakan Association Singapore, who was also the 2024 recipient of the National Heritage Board’s (NHB) Stewards of Intangible Cultural Heritage Award, shares that he “really wanted the kebayas to be the highlight of the whole show.”

“Not only that, I want the audience to know that kebayas have meaning,” he adds. 

Raymond chose to include rabbits in the design of a kebaya worn by actor Chantalle Ng’s character, Anna, who is the main antagonist. Her outfit is adorned with floral polka dots that resemble ang ku kueh (red tortoise cake), a Chinese glutinous dumpling shaped to look like a tortoise shell.

“We depicted a rabbit skipping alongside a tortoise. The rabbit represents someone overly proud and overconfident, which also ties into Chantalle’s character – she appears innocent, but she’s manipulative and toxic,” says Raymond.

In Chinese culture, he explains, rabbits are seen as pure and innocent. “But if you look at Journey to the West, the Jade Rabbit is also portrayed as an evil character. Even in Western culture, the saying ‘going down the rabbit hole’ can lead to a world of toxicity and chaos.”

The kebaya, immortalised in Singaporean playwright Stella Kon’s Emily of Emerald Hill and the iconic uniforms of Singapore Airlines, is not only an enduring symbol of cultural heritage, but also a representation of one’s identity.

Like Raymond, Oniatta Effendi, founder of kebaya-inspired fashion label Baju by Oniatta, states that the kebaya is much more than a piece of clothing. Originally from Nusantara in East Kalimantan, Borneo, Oniatta established the brand in 2016 to promote batik and traditional textile art.

“Regionally, the kebaya reminds us of our interconnectedness. It’s shared across borders – worn by Malaysians, Indonesians, and even Thais – yet every iteration reflects the uniqueness of each culture,” she says.

The kebaya’s recent inclusion to the UNESCO Representative List of the Intangible Cultural Heritage of Humanity – following a joint nomination by Brunei Darussalam, Indonesia, Malaysia, Singapore and Thailand – serves as a reminder that one’s heritage doesn’t exist in isolation, adds Oniatta. “We are part of a broader, living history of the Nusantara, and that is something to be cherished and preserved.”

Ratianah Tahir, who founded Kebaya by Ratianah in 2006, shares her sentiment. For the kebaya maker and boutique owner, who also crafts traditional Malay garments such as the baju kurung, it’s a reaffirmation of the importance of the kebaya. 

“As a woman from the Nusantara region, the kebaya serves as a unifying symbol for the women of our region. It is not only prominent women wearing the kebaya during significant events but also the affirmation and strength it gives to all women who don it – past, present, and, hopefully, future generations as well.”

A representation of female empowerment

The kebaya, an upper garment with a front-opening collar, is traditionally made from cotton, voile, or lace and paired with a sarong. Believed to have its origins in the Middle East, the kebaya has been worn by women across Southeast Asia – including Cambodia, Myanmar, and parts of the Philippines – for over three centuries.

During this time, the garment has undergone several iterations, reflecting the evolving attitudes of women throughout the eras. Singaporean fashion designer and model Vickie Dutton, who wrote a monthly column for Her World in the 1960s, featured contemporary interpretations of the kebaya using contrasting fabrics and elements from other cultural dresses, such as the Chinese qipao or the Filipiniana terno, a dress with butterfly sleeves.

Puan Noor Aishah, the wife of former Singapore President Yusof Ishak, was famously known to favour the garment and was often photographed at state events wearing the sarong kebaya with a selendang (shoulder cloth) draped over her shoulders.

“She made all the kebayas that she wore by herself. Puan Noor Aishah mentioned that she would unpick the old kebayas she liked, place them on new fabrics and then cut around them so she doesn’t have to re-draft the patterns,” says fashion designer Sufiyanto, who goes by Sufi. 

Together with fashion business consultant Afiq Juana, he runs Kebaya Societe, an Instagram account dedicated to promoting the history of the kebaya. 

According to Sufi, the kebaya holds a significant place among Malay women, regardless of the UNESCO inscription. 

“For many, wearing the kebaya comes naturally as the garment is deeply rooted in Malay fashion and our region. Women who wear the kebaya challenge the rigid ideas of how femininity should be expressed, embracing the versatility of the garment in professional, social, and cultural settings.”

Oniatta highlights that in taking the initiative to sew her own kebayas for state occasions, Puan Noor Aishah – who also taught herself English and eventually gave speeches at official events – showed “resourcefulness, resilience and cultural pride”, qualities she said are tied to the essence of empowerment.

“She wasn’t just wearing a kebaya; she was shaping her identity and representing Singapore with dignity and grace on the global stage.” 

Preserving the longevity of the kebaya

From Emily of Emerald Hill to The Little Nonya, the local Peranakan community is often portrayed in the media as a unique blend of Straits Chinese and Malay cultures. Raymond emphasises that the significance of the UNESCO recognition extends to all Peranakan communities in Singapore and the South-east Asian region, including the Babas, Chittys, Eurasians and Arabs. 

“Such an inscription serves as a source of pride and affirmation for our communities, and hopefully, it will foster a sense of unity and identity among us in Singapore too. It also affirms our efforts –  our knowledge, skills, traditions, and practices – amid modern influences,” he says.

Inspiring a revival of people wearing the kebayas, including the younger generation, is important in sparking a greater interest in the garment. Raymond believes that producing creative reinterpretations of kebaya fashion to reflect the tastes of the current generation is key. 

Beyond this, government agencies like NHB should continue to work with associations in the Peranakan community to “lead more educational initiatives, workshops or exhibitions centred around the kebaya.”

“Moving forward, we also have to think about how to maintain [interest in the kebaya] in the future. I hope such initiatives eventually create a more socially vibrant environment for Singaporeans to appreciate the kebaya,” he adds.

Ratianah is taking a step forward with Orkids by Ratianah, a series of dolls dressed in handmade kebayas that she launched this month. It’s an educational tool that she hopes will appeal to both children and adults alike – the dolls come with a QR code that links to an interactive and educational online platform with games inspired by Kampong Glam.

“In a nutshell, this recognition symbolises hope – hope for the preservation of this beautiful garment and all its iterations. Hope in the acknowledgment not just of my work, but also the work of those around me.

“My contribution is just a small ripple, but together, collectively with all the other stakeholders, representatives, and most importantly, the wearers, we are now more motivated and aligned toward our common goal. My dream is to keep the kebaya romance alive forever,” she says.