EIC404: TRADITIONAL ATTIRE E-PORTFOLIO by NOORAINA ADLINA NOORISMA KHAIRUL AQMAR

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Introduction

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Cantonese ethinics are a group of people are native to a region of southeasterns China historically known as Canton. The Cantonese are really well-known of their cuisine,language,popular entertaiment and martial arts too. They are easily noticable that they are Cantonese because of its colorful slang and colloquial sayings, and is a strong part of the region’s cultural identity. Cantonese primarily refers to the spoken dialect of Guangdong and Hong Kong. It is one of the major Chinese languages, distinct from Mandarin. The written form of Chinese used by Cantonese speakers is traditional Chinese characters. For cuisine, Cantonese cuisine is one of the Eight Culinary Traditions of Chinese cuisine and is known internationally. It emphasizes fresh ingredients, subtle flavors, and a variety of dishes. Dim sum, roast duck, and wonton soup are some of the iconic dishes.

CHANGSAN

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The Changshan, also referred to as Changgua, is a traditional clothing style refined by the Han Chinese during the Qing Dynasty. It evolved from ancient robes, adapting to the clothing conventions of the Qing era. Paired with a Magua, which later became the prototype for the Tang suit, this combination, known as "Magua Changshan (Changpao)", became the predominant attire for men in the late Qing Dynasty and early Republic of China periods. Designed with a flat cut centered around the shoulders, the Changshan reflects the Chinese philosophy of the harmonious relationship between heaven and man. Over time, the term "Changshan" has become interchangeable with the male version of the "cheongsam". Changshan attire also held socio-economic connotations. The Duanshan, a shorter version, was typically associated with the working class or those of lesser means. In contrast, the Changshan was a symbol of affluence, often worn by the wealthy elite or the educated class.

QIPAO/CHEONGSAM

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Qipao/Cheongsam is originally a Manchu dress, this iconic garment was adopted and modified by Han Chinese women, especially in urban areas like Shanghai. It became popular among Cantonese women too. The Qipao is a fitted dress, often made of silk, with a high collar, side slits, and intricate embroidery or patterns. Its design can vary in terms of sleeve length and hemline. But owning a Qipao is not just about owning a beautiful piece of clothing but it is also about embracing a rich heritage and celebrating the intricate craftsmanship that goes into creating each exquisite piece for Cantonese women. The Qipao experienced a revival in the 1980s, when it was featured in films, fashion shows, TV shows, and other media. It also became a popular choice for formal occasions, such as weddings, parties, and beauty pageants. Today, the Qipao is still worn by many Chinese women who appreciate its beauty and heritage.

HOW TO WEAR NGEPAN LAKI

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HOW TO WEAR NGEPAN IBAN

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HISTORY OF PAKAIAN PENGHULU

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HISTORY OF BUNDO KANDUANG

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KENYAH TRADITIONAL COSTUME

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A KENYAH WOMAN DANCING TRADIONAL DANCE AND WEARING NGIMBA KENYAH

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A WOMAN DEMONSTRATE VARIOUS OF QIPAO/CHEONGSAM

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In this portfolio, we will go very detail on the fineness and unique of Malaysian ethinicities traditional attire that most of the people not being introduce to. Do enjoy the journey together with me!

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i) Iban Traditional Attire

ii) Minangkabau Traditional Attire

iii) Baba Nyonya Traditional Attire

iv) Kenyah Traditional Attire

v) Cantonese Traditional Attire

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Introduction

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The Iban, also known as the Sea Dayaks, are a major indigenous group in Sarawak. Their traditional attire is a vivid heritage of storytelling. Sarawak is renowned for its diverse range of ethnic groups, and each tribal community possesses distinct cultural characteristics and clothing preferences. These preferences often draw inspiration from the natural world. For instance, the Iban tribe is known for its intricate woven Pua Kumbu textiles (Haddon & Start, 1936). The Iban people have a strong affinity for clothing and adornments, resulting in the creation of various attire tailored for both genders, men, and women (Haddon & Start, 1936). In Sarawak, the traditional dress for the Iban is commonly known as Ngepan Indu. The Ngepan Indu is often worn during the Gawai Dayak celebration season as well as several other ritual ceremonies such as the Miring ceremony (Offerings) and Melah Pinang (Marriage) (Kiyai and Tugang, 2021). Sim and Khan (2014) point out that the precise etymology of the term 'Iban' remains shrouded in uncertainty due to the absence of written records or historical documentation that can be directly linked to it. Nevertheless, the Iban community exhibits similarities with certain tribes in Southeast Asia, such as those in Sumatera, and regions along the Indo-Burmese border. Historically, the Iban or Sea Dayak community led a nomadic existence in the Borneo region and gained a formidable reputation for their valor and fearlessness. This reputation was rooted in their roles as fighters and warriors, evoking apprehension among many during that era (Sim & Khan, 2014). In this context, we will explore the visual elements of the Iban traditional clothing, representing the indigenous attire from Sarawak.

NGEPAN LAKI

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The traditional attire for men, referred to as Ngepan Laki, comprises a kelambi (a short-sleeved vest), sirat, Chawat, or traditional Pua Kumbu loincloth or waist cloth, which is typically dyed in red or blue using cotton fabric or adorned with embroidered ends made from natural materials. Additionally, they wear an intricately decorated headgear known as the Labong or a cap woven from cane, embellished with feathers for aesthetic appeal (a turban-style headgear. Furthermore, a seat mat referred to as Takai buriet in the Iban language is crafted from animal skin or cane matting and adorned with beads or buttons along the edges, and the parang ilang (a traditional Iban warrior sword), along with various customary accessories. During ceremonial events, Iban men may choose to don a jacket, known as Kalambi, with or without sleeves. Additionally, a dangdong or shawl is sometimes worn over the shoulder as part of their attire (Haddon & Start, 1936). These elements are not only a form of clothing but also a reflection of the wearer's cultural identity, heritage, and pride in their traditions. The term Ngepan Laki emphasizes the importance of men's traditional attire among the Iban people, showcasing the uniqueness and cultural richness of their clothing. The central element of the Ngepan Laki is the sirat, as it serves to conceal the male genitalia. The lower end of this sirat cloth is often adorned with feathers, beads, or even snail shells to enhance its aesthetic appeal. In contemporary times, the sirat has lost its significance, especially among the younger generation, as many people now feel modesty or discomfort regarding the exposure of their genitals. It's noteworthy that this discomfort, particularly related to buttocks, appears to be a distinct Western trait, possibly influenced by concerns about homosexuality, an anxiety that tends to increase with the progress of civilization.

Iban Women Traditional Attire

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NGEPAN IBAN

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Ngepan Indu Iban is equivalent to English translation as ‘Iban Female’s Traditional Costume’. It is traditional attire worn by the Iban lady during special occasions such as Gawai Day, ceremonies and ritual dances. Gawai is an annual celebration of the Iban communities to worship the paddy spirit in Sarawak. Ngajat dance is the Iban traditional dance and is uniquely performed to honour the warriors. This traditional dance was only performed to greet Iban warriors who returned from war in the back days, but today, the Ngajat dance serves as entertainment and to be enjoyed by the tourists. The purpose of Ngajat nowadays has changed and is performed in occasions, such as during harvesting festival or also popularly known as Gawai day which is celebrated every 1st June annually (Sia & Li, 2015). In the Iban culture, several types of Ngepan Iban have been identified, namely Ngepan Saribas (Betong, Paku and Krian), Ngepan Kuas (Undop, Semanggang and Lingga), Ngepan Batang Rajang (Kapit), Ngepan Batang Ai (Lubuk Antu, Lemanak and Engkelili) Ngepan Ringgit (Skrang) and the general Ngepan Iban (used by all the Iban). This identification is based on the name of a residential area or river close to the Iban in Sarawak. The existence of differences among the Iban communities is influenced by factors of migration and cultural adaptation to the natural surroundings. The types of Ngepan Indu Iban are as follows:

IBAN TRADITIONAL ATTIRE ( ACCESSORIES )

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MEN ACCESSORIES

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LABUNG

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KETAPU

WOMEN ACCESSORIES

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Introduction

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The Minangkabau people are primarily concentrated in the West Sumatra region of Indonesia, rather than Malaysia. However, due to historical migrations and cultural influences, Minangkabau communities can be found in Malaysia, particularly in the states of Negeri Sembilan and Perak. According to Naim (1984), historical records indicate the presence of Minangkabau communities in these areas. Zed (2010) elaborates on the Minangkabau migration, noting that those who migrated to the Malay Peninsula originated from Lima Puluh Kota and Tanah Datar in Minangkabau, West Sumatra. Their place of origin provided access to significant rivers that flowed to the eastern coast of Sumatera. They embarked on sea journeys to cross the Malacca Strait, eventually establishing new communities in Negeri Sembilan. This migration had a notable impact on the local tribes in the area, leading to the emergence of twelve tribes whose names were derived from districts in Minangkabau, including Batuhampar, Payakumbuh, Mungkal, Tiga Nenek, Seri Melenggang (Simalanggang), Seri Lamak, Batu Belang, Tiga Batu, and Tanah Datar. In addition to these twelve tribes, there were three more tribes comprising individuals with mixed Minang and Malay heritage, resulting from intermarriage between Minangkabau and residents. These three tribes were Biduanda, Anak Acheh, and Anak Melaka. Top of Form Traditional attire played a pivotal role in the ceremonial events of West Sumatra, as these garments conveyed significant cultural messages. The wearing of these dresses was subject to specific guidelines, such as the appropriate occasions for donning the Kebaya Setengah Tiang or which attire was reserved for elders. Typically, these guidelines were passed down through oral tradition from one generation to the next.

Minangkabau Men Traditional Attire

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PAKAIAN PENGHULU

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In Minangkabau culture, the attire a man wears holds significant symbolism, revealing insights into his societal roles and obligations. Even though Minangkabau is a matrilineal society, men men play three important roles in the Minang society namely as a husband, father, and uncle. These roles are visually represented through specific elements of their ceremonial attire and the patterns intricately woven into the fabric. This attire known as Pakaian Penghulu. A traditional Minangkabau male ensemble typically includes a head covering, either referred to as deta or saluak, complemented by a loose-fitting shirt known as baju gadang, pants labeled sarawa gadang, and a short sarong called sisampiang. Additional elements of the attire are a belt (ikek pinggang) and a shoulder cloth, which can be termed as either salendang or salempang. To complete the look, a man might accessorize with a ceremonial dagger, the karih, or perhaps a box for holding tobacco or betel leaf, known as salapah sireh.

Minangkabau Women Traditional Attire

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BUNDO KANDUANG

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Minangkabau women, hailing from West Sumatra in Indonesia, have a distinctive traditional attire that is rich in symbolism and cultural significance. Their traditional dress, like the men's, tells a story about their societal roles and conveys their identity within the matrilineal Minangkabau society. The most common attire of them is called Bundo Kanduang. There are a lot of traditional attire worn by Minangkabau women such as Suntiang, Kain Batik, Kalung and Selendang. This attire, especially when fully adorned, is often worn during special occasions like weddings, traditional ceremonies, or cultural performances. The rich symbolism embedded in each piece of clothing tells stories of Minangkabau history, societal structure, and cultural values.

MINANGKABAU TRADITIONAL ATTIRE (ACCESSORIES)

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MEN ACCESSORIES

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DETA/SALUAK

WOMEN ACCESSORIES

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TANDUAK

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SUNTIANG

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Introduction

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The Baba-Nyonya, also known as Peranakan or Straits Chinese, have a rich cultural heritage and distinctive traditional attire. The traditional clothing of Baba-Nyonya individuals in Malaysia and Singapore reflects a fusion of Chinese and Malay influences. The Baba-Nyonya traditional attire is known for its exquisite craftsmanship and the blending of Chinese and Malay cultural elements. These attire elements are often worn during special occasions, cultural festivals, and weddings to showcase the rich heritage of the Peranakan culture. Here's an overview of the Baba-Nyonya traditional attire for both men and women.

BAJU PANJANG (MALE)

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The "baju Panjang” is an essential element of the traditional attire for Baba-Nyonya men. It's a long-sleeved tunic or shirt that is typically paired with black pants or trousers. The "baju panjang" is often richly decorated with intricate embroidery, gold or silver threads, and decorative patterns, showcasing the cultural heritage and aesthetic sensibilities of the Baba-Nyonya community. This attire reflects the unique blend of Chinese and Malay influences in their culture. The songkok is a traditional Malay headgear worn by Baba men. It is a skullcap made of black velvet or fabric. Baba men often wear black shoes or sandals.

BAJU KEBAYA

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By the end of the 1920s, young Nyonyas abandoned the old-fashioned austere baju panjang for the more modern nyonya kebaya. The word kebaya is derived from the Portuguese word kobaya. The short kebaya was more flattering, as it was figure-hugging and shapely, with intricate embroidery at the neckline, sleeves and hem. The use of lace on kebayas may have been an influence from Portuguese and Dutch women who wore blouses with lace trimmings during colonial times. The kebaya sulam with its elaborate embroidery used to take six months to make by hand in the past. The kebaya is worn with a batik sarung. Nyonyas preferred Pekalungan batik from Java because of its vibrant combination of colours, and motifs of flowers, birds, insects, and other animals. The kebaya is a prominent element of Nyonya attire. It is a beautifully embroidered, form-fitting blouse often made of sheer fabric and paired with a sarong. The kebaya is known for its intricate beadwork and embroidery, which often includes floral and bird motifs.

BABA NYONYA TRADITIONAL ATTIRE (ACCESSORIES)

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Introduction

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The Kenyah, an indigenous ethnic group residing in the lush rainforests of Sarawak, Malaysia, are distinguished by their unique cultural traditions and a rich heritage deeply intertwined with their natural surroundings. This introduction explores the history, culture, and way of life of the Kenyah tribes, shedding light on their remarkable journey through time. The Kenyah tribes are renowned for their distinctive cultural identity. They have developed their own language, customs, and traditional beliefs that center around a harmonious relationship with nature. Their close connection to the environment is evident in their daily practices, rituals, and traditional attire (Appell, 1999). The traditional attire of the Kenyah people reflects their cultural pride and heritage. Men and women wear unique clothing that showcases their identity and intricate patterns, often woven by hand (Sanjeevan, 2013). Their attire includes the Ratoh Jarong for men and the Jarong for women, adorned with symbolic designs and patterns.

KENYAH

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Kenyah warriors traditionally donned bark-cloth jackets for warrior initiation and headhunting ceremonies and Kenyah warriors usually are men. The large curved patterns on the border of this jacket are composed of dragon motifs, which are indicators of status. Men craft these designs using wooden stencils and apply a natural reddish dye to color them. These motifs are still held in high esteem, symbolizing one's rank in society. Wearing patterns that falsely signify elevated status is believed to invite supernatural retribution, possibly manifesting as sudden accidents or illnesses. The white bark-cloth itself comes from a tree called the Ti tree by the Kenyah Lepo' Ke. Some scientists believed this to be the same as the tree used for extracting poison used in making poisonous darts.

NGIMBA KENYAH

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For Kenyah's women communities the name of their traditional attire called Ngimba Kenyah. A typical female Ngimba Kenyah that is used for beauty pageants would include Tapung Sek (Headdress) that is made of weaved bamboo, the ring is then wrapped in fabric and decorated with beads. Next is they use Uleng Lavang (Beaded necklace). A necklace of yellow beads, with a small bobble of orange or red up to 3 can be worn at the same time. For Bela’ung (Hoop earrings), the Kenyah are recognized for their elongated earlobes. Historically, they adorned them with white ornaments crafted from tin and red/orange ones made of copper. Today, materials like plastic or wood are more prevalent. The top blouse called Sapai and it is a one piece, short sleeved top decorated in beads and for the skirts known as Ta'a is a skirt worn like a sarong, by winding it around the body and tied at the waist decorated with beads. They are also using Beteng as the belt of the costume that is made of colourful beads. Lastly, Bilang (Sash). A beaded sash worn either one way or other way, depending on the style desired.

KENYAH TRADITIONAL ATTIRE ( ACCESSORIES )

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KANCET LANSAN

MEN ACCESSORIES

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FAN

WOMEN ACCESSORIES

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DOKOH BERANTAI

WOMEN ACCESSORIES

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TAPUNG SEK

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ULENG LAVANG

MEN ACCESSORIES

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KETAPU SILUNG

CANTONESE TRADITIONAL ATTIRE ( ACCESSORIES )

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MEN ACCESSORIES

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FAZAN (HAIR CLIP)

WOMEN ACCESSORIES

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FACHAI (HAIRDRESS)

REFERENCES

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REFERENCES

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REFERENCES

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REFERENCES

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REFERENCES

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MIRROR AND COMB

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HANFU ( MALE )

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Hanfu, the traditional clothing system of China's Han ethnic group, possesses eight distinct characteristics, with a history dating back 4,000 years.Hanfu's establishment as a clothing tradition can be traced to approximately during the Qin Dynasty. The designs from that era were guided by three fundamental principles. It should consist of both an upper and lower garment. The lower part can either be trousers or a full-length skirt. The upper and lower parts are typically fastened together around the waist. Moving into the Ming Dynasty from the 14th to the 16th centuries, we see a mood to mix and match. A typical combo is a short top with a Ma-mian skirt, but it's all very open and easy-going. People were encouraged to experiment at that time. A long top can also go with a skirt, for instance. However, a major change is on the collar. While keeping the cross-over, round, and symmetric collar, the width of the collar deepens. It can almost wrap around the entire neck.

HANFU ( FEMALE )

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Hanfu for women is a traditional Chinese clothing style that reflects the rich heritage of Chinese culture. Here are some key elements and characteristics of Hanfu for females. Such as Ruqun. The Ruqun is a classic style of Hanfu for women. It has a cross-collared, short-sleeved top called 'ru' and long, pleated skirt called 'qun'. Next is Shenyi. Shenyi is a two-piece ensemble that includes a cross-collared top with wide sleeves and a pleated skirt. Pipa Skirt is also refers to skirt of Hanfu. The Pipa skirt is a type of pleated skirt that is narrow at the waist and gradually widens toward the hem, resembling the shape of a pipa, a Chinese musical instrument. As for the hair accessories Cantonese female use traditional hair ornaments, such as hairpins, combs, and hairpieces, are an integral part of Hanfu attire for women. These accessories are often elaborately designed and can vary depending on the occasion. The fabric female Hanfu is made from silk or other high-quality fabrics, and the choice of fabric can different depending on the season and occasion. Many women choosing to wear Hanfu not only during special occasions but also as a form of cultural expression in daily life.

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JIAN

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HAND FAN

HOW TO WEAR HANFU ( MALE )

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CANTONESE CLASSIC DANCE ( IN HANFU )

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BAJU KURUNG

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The central piece of a Minangkabau woman's attire is the "baju kurung" or "baju kurung panjang." This is a long-sleeved, loose-fitting blouse that extends down to the hips or thighs. The blouse is often made of high-quality, brightly colored fabric and may feature intricate embroidery, gold or silver threads, and decorative patterns.

BAJU GADANG

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The "baju gadang" for men is a long-sleeved, loose-fitting shirt that reaches down to the hips or thighs. It is often made of high-quality, handwoven fabric and features minimal embellishments. The shirt may have a simple collar and is typically tucked into the waistband.

IKEK PINGGANG

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The lower garment is a "ikek pinggang" or woven skirt. This skirt is wrapped around the waist and secured with a belt. The fabric is handwoven and often features intricate geometric or floral patterns.

KARIH

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A "karih" is a traditional dagger with a wavy blade. It is often worn by Minangkabau men and is considered a symbol of bravery and honor. The keris is typically tucked into the waistband.

KELAMBI

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KELAMBI ( A SHORT-SLEEVED VEST IN BLUE)

SIRAT

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The lower garment is a "sirat," which is a loincloth or wrap-around skirt made from woven or batik fabric. It is secured at the waist and extends to the knees.

PARANG ILANG

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The "parang ilang" is an Iban warrior sword that is an important part of the attire. It is often tucked into the waistband, signifying the bravery of warrior of the Iban people.

NGEPAN IBAN SARIBAS

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This Ngepan has its distinctive characteristics, namely using a Rawai Tinggi (corset made from silver) which is made from silver or rattan and shaped into a circular shape according to the cut of the woman's hips, then decorated with silver coins. Ngepan Iban Saribas is usually combined with a Kebat cloth (Iban weaving that has a water spiral pattern), Lampit Perak (silver lampit), Sugu Tinggi (high comb/headdress), a pair of silver earrings, Kalung Perak (silver necklace), and a complete set of Tumpa Pirak (silver arm bracelet). Meanwhile, the legs will be covered with a set of silver anklets that have bells and the hands will be tucked in a white lacy handkerchief while holding the Buah Pauh as additional decoration.

NGEPAN IBAN DURING GAWAI

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This particular style of Ngepan is not associated with a specific geographical region, unlike the other regional variations of Iban attire mentioned earlier. Furthermore, the general Ngepan Iban is a cherished inheritance within Iban families, passed down from one generation to the next through the guidance of grandmothers, mothers, parent-in-laws, or spouses. According to Kiyai and Tugang (2021), the Ngepan Iban, which is meticulously arranged by Iban women during the Gawai Ceremony, includes various components such as Sugu Tinggi, Tali Mulung, Rawai, Buah Pauh, Bentuk Tumpa, Gerunchung Kaki, Lampit, Sementing Ringgit, Selampai, and Tango. This style of Ngepan is widely embraced by the Iban community as a symbol of their cultural identity, allowing them to distinguish themselves from other Dayak ethnic groups.

SUGU TINGGI

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Women often wear a tall, ornate headdress called "sugu tinggi." This headdress can reach impressive heights and is decorated with beads, feathers, and other decorative elements. The design of the sugu tinggi can vary depending on the region and the occasion.

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BUAH PAUH

BAJU PANJANG (FEMALE)

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The traditional attire of Baba-Nyonya includes the Baju Panjang, worn together with a Sarung (made of batik) and 3 brooches. Beaded slippers, known as Kasot Manek-Manek, are skillfully and meticulously hand-embroidered, featuring tiny multi-faceted glass beads (Manek Potong) from Bohemia.

BAJU BURUNG

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"Baju Burung Iban" is a traditional attire worn by the Iban people of Sarawak, Malaysia. This attire is characterized by its unique and intricate bird motif patterns, which are significant in Iban culture. Here are some key features of "Baju Burung Iban". The term "Baju Burung Iban" translates to "Iban Bird Shirt" or "Iban Bird Dress." The distinguishing feature of this attire is the intricate bird motifs that are meticulously woven or designed onto the fabric. These bird motifs can vary in style and size but are a central theme in the attire.

SIRAT ( MEN )

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Kenyah men traditionally wear a wraparound skirt or loincloth as their primary lower garment. This garment is typically made from handwoven fabric or bark cloth. It is wrapped around the waist and secured in place.

KETAPU SILUNG

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Ketapu Silung is traditionally made from natural materials. The base of the headgear is often woven from rattan or other plant fibers, which are lightweight and durable. The overall design can incorporate a variety of materials, including beads, feathers, and other decorative elements.

SAPAI

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The Sapai short-sleeved shirt is known for its unique and intricate design. It is often made from handwoven fabric that is created by skilled Kenyah weavers. The fabric can be adorned with colorful patterns and motifs that have cultural and symbolic significance. The Sapai Top is a traditional garment worn by Kenyah women. It is considered an essential part of their traditional attire, particularly during important cultural events and ceremonies.

TA'A

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The Ta'a Skirt is a type of wraparound skirt, traditionally worn by Kenyah women. It is designed to be wrapped around the waist and secured in place. It reflects the artistic skills of Kenyah weavers and their connection to the environment and traditional values.

BETENG

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The Beteng serves as a traditional shield designed for protection. It was historically used for defense in various contexts. Traditional Beteng shields are typically crafted from natural materials such as wood and woven rattan

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KELAMBI SHORT-SLEEVED IN RED

KEBAYA SESETENGAH TIANG

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Unlike the Bundo Kanduang dress or the daily attire we had discussed prior to this chapter, Kebaya Setengah Tiang did not use baju kurung as the blouse, but the kebaya or the long-sleeved blouse with opening at the front and secured with gold brooches. The length of kebaya blouse was not as long as baju kurung, but both blouses were loosely fitted. The design of the kebaya was identical with the commonly worn clothing in both Malay and Minang culture, as could be seen from the figure below

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KAIN SUTERA

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TENGKULUK (KEBAYA SESETENGAH TIANG)

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BELA'UNG (EARHOOPS)

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SAMFOO

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The "samfoo" is an essential element of the traditional attire for Baba-Nyonya men. It's a type of casual jacket, typically made from fine silk or other high-quality fabric, that is paired with trousers. This attire reflects the unique blend of Chinese and Malay influences in their culture. Young Baba men typically wear a samfoo along with a coat and leather shoes. During festive days, they may wear a samfoo along with shoes and a cap. Meanwhile, the elders tend to wear simpler attire in their daily lives. However, during special occasions, they may don a samfoo, a coat or pagoda attire, along with trousers, beaded shoes, and a cap.

SHORT KEBAYA BABA NYONYA

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Iban Men Traditional Attire

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List of Custom

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i) Ngepan Iban Saribas

ii)Ngepan Iban during Gawai

List of Custom

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i) Bundo Kandung

ii) Baju Kurung

iii) Kebaya Sesetengah Tiang

Baba Nyonya Women Traditional Attire

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Baba Nyonya Men Traditional Attire

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Kenyah Women Traditional Attire

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Cantonese Men Traditional Attire

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Cantonese Women Traditional Attire

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List of Custom

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i) Changsan

ii) Hanfu

List of Custom

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i) Qipao

ii) Hanfu (Female)

List of Custom

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i) Baju Panjang

ii) Samfoo

List of Custom

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i) Baju Kebaya

ii) Baju Panjang (Female)

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EIC404: TRADITIONAL ATTIRE E-PORTFOLIO by NOORAINA ADLINA NOORISMA KHAIRUL AQMAR

Introduction

CHANGSAN

QIPAO/CHEONGSAM

HOW TO WEAR NGEPAN LAKI

HOW TO WEAR NGEPAN IBAN

HISTORY OF PAKAIAN PENGHULU

HISTORY OF BUNDO KANDUANG

KENYAH TRADITIONAL COSTUME

A KENYAH WOMAN DANCING TRADIONAL DANCE AND WEARING NGIMBA KENYAH

A WOMAN DEMONSTRATE VARIOUS OF QIPAO/CHEONGSAM

Table of Contents

Introduction

NGEPAN LAKI

Iban Women Traditional Attire

NGEPAN IBAN

IBAN TRADITIONAL ATTIRE ( ACCESSORIES )

MEN ACCESSORIES

WOMEN ACCESSORIES

Introduction

Minangkabau Men Traditional Attire

PAKAIAN PENGHULU

Minangkabau Women Traditional Attire

BUNDO KANDUANG

MINANGKABAU TRADITIONAL ATTIRE (ACCESSORIES)

MEN ACCESSORIES

WOMEN ACCESSORIES

Introduction

BAJU PANJANG (MALE)

BAJU KEBAYA

BABA NYONYA TRADITIONAL ATTIRE (ACCESSORIES)

Introduction

KENYAH

NGIMBA KENYAH

KENYAH TRADITIONAL ATTIRE ( ACCESSORIES )

MEN ACCESSORIES

WOMEN ACCESSORIES

WOMEN ACCESSORIES

MEN ACCESSORIES

CANTONESE TRADITIONAL ATTIRE ( ACCESSORIES )

MEN ACCESSORIES

WOMEN ACCESSORIES

REFERENCES

REFERENCES

REFERENCES

REFERENCES

REFERENCES

HANFU ( MALE )

HANFU ( FEMALE )

HOW TO WEAR HANFU ( MALE )

CANTONESE CLASSIC DANCE ( IN HANFU )

BAJU KURUNG

BAJU GADANG

IKEK PINGGANG

KARIH

KELAMBI

SIRAT

PARANG ILANG

NGEPAN IBAN SARIBAS

NGEPAN IBAN DURING GAWAI

SUGU TINGGI

BAJU PANJANG (FEMALE)

BAJU BURUNG

SIRAT ( MEN )

KETAPU SILUNG

SAPAI

TA'A

BETENG

KEBAYA SESETENGAH TIANG

SAMFOO

SHORT KEBAYA BABA NYONYA

Iban Men Traditional Attire

List of Custom

List of Custom

Baba Nyonya Women Traditional Attire

Baba Nyonya Men Traditional Attire

Kenyah Women Traditional Attire

Cantonese Men Traditional Attire

Cantonese Women Traditional Attire

List of Custom