Japan has the kimono, the Republic of Korea—the hanbok, and across Southeast Asia, various countries have the kebaya.
Used as an outer garment, kebaya is worn by women in BIMP-EAGA member countries, Brunei Darussalam, Indonesia, and Malaysia, and neighbors Singapore and Thailand.
More than just a garment, kebaya represents these countries’ multicultural identities while connecting diverse cultures.
While each country’s version of kebaya has the same basic structure as an upper garment, designs, motifs and accompaniments reflect the rich cultures and identities of the wearers. The garment symbolizes shared heritage that transcends ethnicity, religion and borders, facilitating dialogue and uniting communities.
In Brunei Darussalam, kebaya is worn by the Brunei, Belait, Bisaya, Dusun, Kedayan, Murut, and Tutong ethnic groups.
While in Indonesia, it is worn by ethnic groups from the eastern to the western parts of the country—Aceh, Melayu, Minangkabau, Palembang, Lampung, Sunda, Betawi, Jawa, Bali, Sasak, Dayak, Banjar, Kutai, Bugis, Bolaang Mongondow, and Ambon.
In Malaysia, kebaya is associated with Malays (Peninsular Malay, Borneo, Javanese, Baweanese, Bugis and others) and Peranakans (Chinese, Baba Nyonya, Indian, Chetti, Siamese, Jawi, Kristang, Arab, and European). Peranakans are native-born people with mixed ethnicity.
In Singapore, the garment is worn by the Malay (sub-groups include the Peninsular Malay, Javanese, Baweanese, and Bugis), Peranakan (including the Chinese Peranakans, Chitty Melakans as well as Jawi and Arab Peranakans), and other communities.
In Thailand, it is the traditional wear of Thai–Peranakan women in southern parts of the country, including Phuket, Phang-nga, Ranong, Krabi, Trang, and Satun provinces.
Ties that bind
Now added to UNESCO’s list of intangible heritage, kebaya binds the five countries in preserving the practice of making and wearing the garment to ensure it is passed down to the next generation. The five countries jointly nominated the garment’s inclusion on the list.
UNESCO inscribed kebaya in the intangible heritage list in December 2024. UNESCO maintains the list to safeguard traditions and to foster mutual respect for different cultures and promote intercultural dialogue. Keeping intangible cultural heritage intact is also important in maintaining cultural diversity in the face of growing globalization.
The intangible cultural heritage list includes not just monuments and collections of objects but also traditions or living expressions passed down to every generation, including oral traditions, performing arts, social practices, rituals, festive events, knowledge and practices concerning nature, and the universe or the knowledge and skills to produce traditional crafts.
Continued relevance
According to the nomination file for kebaya’s inclusion onto the UNESCO list, the garment represents an elegant and dignified way of dressing that has evolved over time with the lifestyles of Southeast Asian women. The garment continues to be relevant today as the attire constantly references its historical roots while being open to modifications and experimentation.
Used in both formal and casual occasions, the kebaya is worn during social gatherings and festivals. It is also worn in the performing arts, such as in dance performances, theater, and film. Contemporary designs are featured in beauty pageants and award ceremonies to reflect the wearer’s cultural identity.
The kebaya has infinite designs. It is often adorned with intricate embroidery and styled with brooches or buttons. Lengths can vary, either ending at the hip or below the knee. While some pair it with pants, it is commonly worn with sarong—a long strip of fabric wrapped around the lower body—and other types of textiles. These include batik sarong, also called kain lepas, which is made of woven cloth cotton or silk batik; kain pelikat, a type of sarong with checkered pattern; and songket, a fabric which has silver or gold threads.
Making kebaya involves specific skills and knowledge related to the preparation, design, selection and cutting of fabrics and accessories, as well as different sewing and embroidery styles. Traditionally, these skills and knowledge have been transmitted informally from mother to daughter. Over time, men have also become involved, and formal training has become available through schools and workshops.
Because of kebaya’s cultural significance, wearers want to pass it down to their children. In a video submitted to support the five countries’ UNESCO bid, Miranti Serad, vice-chairperson of the team from Indonesia who pushed for the UNESCO nomination, said she was raised to view kebaya as part of the family tradition. “We see the history of kebaya from our grandparents, grandmothers, and mothers, who have taught us to wear kebaya since we were young.”