Photo credit: Suan I Lim

TEXTILES ARE MORE than just fabrics—they are the woven stories of our cultures, histories and identities. Among the most intricate and meaningful of the textile traditions is ikat, a resist-dyeing technique that produces mesmerising patterns through a meticulous process of tying, dyeing and weaving.

Our personal collection of ikat textiles spans the Nusantara region, with different tribal cultures and histories, from the lush rainforests of Sarawak to the stunning, exotic islands east of Bali in Indonesia. Each piece tells a story, not just of artistry, but of the societies that created them, and the love and the dedication which the weavers tied, dyed and wove into every piece. We treasure them as the warisan (cultural heritage) of Malaysia and the Malay Archipelago.

Here, we trace the cultural significance of ikat weaving. These textiles are what we call the Versace, or primitive couture (high culture), of indigenous fashion, woven and worn with pride and elegance by the peoples in Sarawak, Borneo and the islands beyond the Celebes Sea. Our journey as collectors of ikat textiles date back nearly half a century, from our first pua kumbu (traditional ceremonial cover cloth) from Kuching, Sarawak collected in 1979, to the regal sarongs of Sumba.

The History of Ikat: One of the Oldest of Weaving Techniques

The term “ikat” comes from the Malay-Indonesian word, mengikat, meaning to tie or to bind. It refers to the process of resist-dyeing threads (usually cotton) before they are woven into cloth. This ancient technique dates to Neolithic times (at least 6,000 years ago), with archaeological evidence of early ikat found in various parts of the Middle East, Central Asia, Africa and the Americas. Today, Japanese, Chinese, Vietnamese, Thai, Filipino and Indonesian craftsmen weave with pride their ikat with indigo blue and morinda red, and continue to use them in their traditional costumes.

In a wooden frame (loom) that holds vertical (warp) strands of thread, the weaver threads through horizontal threads (weft) until the whole piece of cloth is produced. The vertical warp yarns are held stationary in tension on the loom frame, while the horizontal weft is drawn through (inserted over and under) the warp thread. The tighter the weave, the tougher the cloth; the finer the thread, the softer and smoother the fabric; the finer the tying and dyeing process, the more treasured the cloth and the more intricate the designs. The pattern emerges like digital pixels—the denser the pixels, the sharper the picture.

The tie and dye technique involves covering the part of the thread that should not be dyed with plastic (previously leaves). The threads are then dyed, and so the part that is wrapped is not dyed with that colour. The weaver must imagine the pattern and then weave the threads together till the pattern appears on the cloth in its full glory. The finer the tie and dye technique, the finer the pattern. This is achieved through practice and collective effort, since the more weavers there are, the better the quality of the dyeing and weaving.

Both of us wanted to collect the pieces, preferably directly from the villages, since modern clothing has been fast replacing these tribal clothings—and in many regions, only the old still weave. Since 1994, we have travelled up and down the islands of Nusantara and the Moluccas, bargaining with dealers and weavers alike. These pieces are treasures with memories of ties and kinship that are stories in and of themselves.

Weaving as the Fabric of Society

In many traditional societies, weaving is not merely a craft, but an esteemed—almost venerated—practice. It represents art, identity, status, skills and communal knowledge. Among the Iban and Dayak tribes of Borneo, the best weavers were often women of high status—chieftains’ wives or spiritual leaders who held deep knowledge of tribal rituals and traditions.

The pua kumbu, a ceremonial blanket or shawl, is one of the most iconic of Iban textiles. Used in rituals, weddings and funerals, these pieces are imbued with spiritual significance. The motifs often depict mythological scenes, protective symbols or ancestral stories. Similarly, in Sumba, the finest textiles were woven by the royal family, with certain designs reserved exclusively for nobility.

Before Western clothing became widespread, ikat fabrics were worn daily and during special ceremonies. The smaller pieces were sewn together as a sarong, while the better pieces had their borders embroidered with special motifs or designs.

Origins In Sarawak: The Beginning of Our Collection

Our fascination with ikat began in Kuching, Sarawak, when Andrew encountered a majestic pua kumbu while visiting the bazaar. The deep reds, intricate patterns and cultural weight of these textiles were captivating, and he immediately recognised the artistic and cultural significance of this dying art so treasured by its communities. The small girl’s sarong and ikat shawl or blanket were so beautifully designed that he immediately bought them back for Suan Poh, who fell in love with each piece, and formed an immediate and emotional tie to the Iban people’s homage to their community pride, nature and the spirit world.

We collected more during several memorable trips to Kuching and Sibu until we were posted to Washington DC in 1989. On our return to Hong Kong in 1993, we immediately hopped on a plane to Bali, where we encountered with amazement and awe the whole range of ikat textiles from the exotic islands of Nusantara. Each differed dramatically from village to village, island to island; the different motifs and designs favoured by different communities set them uniquely apart.

Sumba: Where Royalty Weaves History

The island of Sumba was one of our first calls, since ikat is a regal tradition there. The best royal textiles were symbols of wealth and status, with large pieces used in ceremonial functions, including funerals. Sumbanese ikat is renowned for its bold, figurative designs—horses, skull trees and ancestral spirits—woven in rich indigo, rust and ivory.

These motifs come from not only Sumba’s encounter with Portuguese and Dutch colonists, but were also influenced by Indian textiles and designs. Beyond being decorative, these textiles are visual narratives of Sumba’s animist beliefs and social hierarchy, and reflect the confluence of cultures with Chinese motifs (dragons), Indian floral patola central panels, and horses and pageantry from Portuguese and Dutch influences.

Flores: The Manta Ray and Ile Api Ikat

The island of Flores (Portuguese for “flower”) is one of the most beautiful islands in the world, with stunning white beaches and still smoking volcanoes at the water’s edge. At the western end, are the Komodo and Rinca islands, famous for their Komodo dragons. In the centre, was found the archaeological legacy of Flores Man, an extinct species of archaic humans which some call hobbits because they were so small. Then, there are the textiles from Ende, many woven with commercial cotton, but rich in patterns and designs that vary from village to village.

At the eastern end, are the famous Lembata textiles, renowned for their rich indigo and burgundy red hues. Lembata is an island off eastern Flores, famous for its Lamaholot people. In the Atadei village, they weave large Kewatek sarongs, usually with handspun cotton, with motifs of stingrays that end in small tumpal (triangular) patterns and eight-pointed stars. The Lembata textiles are famous for their dark morinda red, created by indigo overdyed with morinda in a process called belapit, creating a very dark tone similar to the colour of eggplant.

On Lembata island, the practice of whaling still exists, and their Ile Api (isle of fire) textiles are treasured for their linear design beauty, almost like coded lines of text which no one can decipher today.

On the east side of Flores, is the former kingdom of Larantuka, with the volcano Ili Mandiri nearby. The area is famous for their tubular sarong called kreot beloge, dyed in indigo blue or morinda red. The sarongs are used in ceremonies, especially for bridal purposes where the family of the bride must offer nine textiles to the groom, including one of high value. These sarongs are adorned with small clusters of cowrie-shell beads, a unique feature of Ili Mandiri textiles.

The contrast between these styles reflects the island’s diverse cultural influences, from coastal livelihoods to mountainous traditions.

Timor and the Outer Islands: The Heart of My Collection

The bulk of our collection comes from Timor and the islands around the Ambon sea—Tanimbar, Kisar and the Timor archipelago itself. East of Tanimbar is the large island of New Guinea, where locals still wear clothes made of bark. The cotton tradition seems to have stopped just before Papua, very much like the Wallace Line, which divides the tropical fauna and flora of Asia from the drier, semi-desert weather of Australasia. Timorese ikat is among the most sophisticated, done with intricate geometric and anthropomorphic designs.

West Timor: Earthy Tones and Mythical Beings

Here, ikat textiles are dominated by deep indigos, browns and creams. Humanoid figures, known as atu roi (ancestral spirits), are common, symbolising the connection between the living and the dead.

East Timor: A Burst of Colour

In contrast, East Timorese ikat is vibrant, with bright reds, yellows and greens. The motifs are dynamic, often depicting warriors, animals and cosmic symbols. These textiles were historically used in trade, and as symbols of wealth and power.

Ikat As A Living Tradition

Collecting ikat has been more than an aesthetic pursuit—it has been a journey through cultures, histories and human creativity. Each textile in our collection is a testament to the weavers’ skill, patience and cultural pride.

In a world of mass-produced fabrics, ikat stands as a reminder of the beauty of handmade artistry. It is not just cloth; it is the fabric of society, woven with stories, beliefs and identities. As long as there are weavers keeping these traditions alive, ikat will continue to be a vibrant link between the past and the future.

*Note: The authors are grateful to Jillian Ng for her meticulous and dedicated research for this article. All photos here are the authors’ copyright. The opinions expressed are solely those of the authors.

REFERENCES

1. Cita Tenun Indonesia. 2011. Tenun: Handwoven Textiles of Indonesia. US: Tuttle Publishing.

2. Hooper, P.T. 2018. Ikat Textiles of the Indonesian Archipelago. Hong Kong: HKU Museum and Art Gallery.

3. Hooper, P.T. 2025. Pusaka Collection: 044 Sumba, East Sumba. Online Museum of Indonesian Ikat Textiles. Retrieved from https://ikat.us/ikat

4. The Cleveland Museum of Art. 2025. Hinggi, Indonesia, Sumba, 19th century. Retrieved from https://www.clevelandart.org/art/1925.490

5. The Thomas Murray Collection. 2022. Textiles of Indonesia. UK: Prestel.