HAVING SPENT MUCH of my recent years exploring Malaysia’s textile landscape and learning from craft communities across Asia, I have observed a poignant and recurring theme: an intergenerational worry about how these rich traditions will endure.

Communities fear the loss of their art forms as they watch younger generations shy away from this work, citing long hours, low pay and the rising irrelevance of the skills involved.

Yet, in contrast, I have witnessed a rising wave of curiosity and pride in the young, especially in Malaysia. From heritage textile exhibitions to Gen Z-led batik brands blending tradition with contemporary flair, to conversations around preservation and sustainable innovation, these topics fill their speech bubbles. Furthermore, the momentum is rising.

Still, navigating this space means encountering both meaningful revivals and superficial appropriations. During a walk through Kuching old town early this year, I saw rows of shops selling mass-produced polyester T-shirts and sarongs digitally printed with Pua Kumbu motifs. It was disheartening to see a sacred textile reduced to a mere commodity.

Most artisans I’ve met recognise that adaptation is necessary to keep these traditions alive. But there are also those who uphold a reverence for keeping things “pure”. The question is: how can we weave a future that satisfies both? To explore this, I spoke to a few people whose work sits at this very intersection.

Innovation VS. Integrity: The Evolving Craft Economy

Traditional textiles like songket demand immense time, skill and patience to produce. A single piece can take months to complete, with costly materials like gold thread contributing to its lofty prices. This makes it challenging for both aspiring artisans and entrepreneurs.

To preserve these traditions, some are modifying their techniques for efficiency and accessibility. Digital printing has become a common adaptation.

During our Zoom conversation, John Ang, an American-born art historian and textile collector who moved to Malaysia in 2018 to deepen his research on Malay textiles shared: “Local designers are returning to their roots, often incorporating traditional motifs through digital printing. I sell digital batik prints on cotton too. It’s not what I really want to sell—they lack the soul of hand-drawn batik, but it takes time to build appreciation for batik tulis. The digital ones are beautiful, and they bring in money. We have to survive, right?”

John expressed excitement about local labels like Tom Abang Saufi (TAS) and Behati, who are reinterpreting traditional textiles. TAS’s Raya 2024 collection features Pua motifs from the Iban community, adapted for contemporary wear. Behati, though sometimes polarising, merges traditional materials and silhouettes with bold, avant-garde flair.

Beyond digital print, reimagining the application of traditional textiles is essential. Songket, once reserved for ceremonial use, has now been assigned a prominent place in handbags, shoes, framed art and even minimalist accessories like bookmarks and brooches, offering accessible entry points into heritage that can spark deeper appreciation and be a long-term investment.

In a morning call from Terengganu, telepuk artisan Azwarin Ahmed explained that the art form requires mastery of four distinct skills: weaving, carving, brushing and stamping. While complex and time-consuming, he believes simplification—such as using fewer motifs—can make the craft more accessible without compromising its identity.

Materials Matter: Reclaiming Sustainability In Craft

Mass-produced batik carries significant environmental and social costs, from the use of synthetic dyes and chemical processes that pollute waterways and harm ecosystems to exploitative labour practices that undervalue workers and traditional artisans.

Ummi Junid of Dunia Motif addresses this by using natural dyes from food waste like onion skins, pomegranate rinds, mangosteen peels and botanical waste to create vibrant hues in her batik explorations.

In Sarawak, Diana Rose pioneered the use of linut, a sago-based starch, as a biodegradable, eco-friendly alternative to wax in batik-making, tapping into the region’s rich sago resources.

Given that fabric waste makes up 432,901 metric tonnes (approximately 31%) of total waste in Malaysia in 2021, it is indeed time to rethink recycling possibilities on that front. Instead of relying solely on new resources to create traditional textiles, we could incorporate waste into the process, using off-cuts and discarded fabrics as canvases for techniques like natural dyeing, embroidery, telepuk or batik.

John Ang remarked, “We’ve got too much heritage textiles that are going to waste. It’s generating a lot of garbage that’s retarding our ecosystem. It’s pushing us to find creative ways to reuse them. I like the idea of giving old textiles new life through contemporary silhouettes.”

Waste from other industries can also be repurposed. For example, Indonesian brand Mercado Anyam reimagines traditional market bags using LDPE plastic waste, transformed into long strips of “yarn” and woven by artisan communities in Bali and Java into beautiful, functional pieces.

Design Shifts: Tradition Meets Contemporary Expression

Traditional textiles are being re-envisioned for contemporary clients. Some designers are paring down intricate motifs into abstract or geometric shapes, appealing to modern minimalist aesthetics. Others are expanding colour palettes beyond traditional schemes, using neon, monochrome, pastels or colour gradients to stand out.

Motifs and prints on textiles have always told stories. Today, they increasingly reflect themes from pop culture, activism and lived experiences.

In 2024, multi-disciplinary artist and traditional textile advocate, Nini Marini Ramlan, collaborated with ManekNya, a platform reimagining Peranakan heritage, on “Batik Sarong Painting with Beads”. This striking artwork fused Nyonya beading with acrylic painting on canvas, interweaving generational and contemporary narratives through symbolic motifs drawn from traditional crafts and attire.

Digital Bridges: Where Tradition Meets Technology

Beyond digital printing, technology also plays a role in preserving and reimagining traditional textiles in more advanced ways.

When asked about innovations she finds exciting, Nini Marini shared her curiosity around how AI and machine learning might help archive and interpret the vast array of traditional motifs, an overwhelming task to do manually.

She also pointed to emerging tools and mechanisms that ease artisans’ work, such as jacquard looms with digital patterning capabilities, ergonomic weaving setups and dyeing tools that reduce water and chemical usage. Heritage-focused Intellectual Property Organisations (IPOs) are also being explored to protect traditional knowledge and ensure artisans receive proper recognition and compensation.

Still, innovation must be approached with care. Azwarin, when asked about introducing new motifs or uses for telepuk art, noted that it is not yet ready for commercial reinvention. Public education and cultural awareness must come first before innovation can responsibly follow.

Weaving The Way Forward: A Call To Collective Care

Reimagining Malaysian textiles for our times isn’t just about motifs and methods; it’s about reconnecting with the people and stories behind them. To truly move forward, we must centre the artisans and cultural stewards who have long safeguarded these traditions, along with the histories and values they embody.

As John Ang put it “Education is key. I want the younger generation to know the history of these textiles and be proud of them. Right now, education here is still very myopic. Parents have a role to play in sparking curiosity.”

Nini Marini echoed the call for a broader shift: “It takes an entire ecosystem. Everyone needs to play their part. I think it’s also about changing our collective taste—what do we value? The more we see people actually wearing and embracing these traditions, the more appealing they become. Change is going to take time. Are you in it for the long haul? Because I am.”

As the Malay proverb goes, tak kenal maka tak cinta (to know is to love), we are far more likely to protect it, adapt it with care and evolve it in ways that honour its roots when we understand the history of our textiles.