Author: Amalina Baharuddin Page 1 of 2

Its Finally Done!

My Songket Clutch is done!
Here some picture of my Songket Clutch.
Btw, please check out my instagram to see more picture of this clutch.

Till next time.

Songket Clutch by artandcraftbynina

Hi guys, so this post i made to show you my final design product.
So i choose handmade Songket fabric combined together with velvet fabric.
Here some of the process picture.
If you guys see may previous post about my mock up product. The process is similarly with the my mock up.

My Final Product!
For the front bag, I choose to combine Songket Fabric and Velvet Fabric.
Same thing and same process with my mock up. This is the part im doing the zip.
Tips and trick, mark 4 side around the circle and pin in with the zip part then start sewing. Say no more to messy sewing.!
Then pull over, It will look like this! Perfect Circle!

So, for the rest process you guys can check it out at my mock up post!
Btw, later i will share to you guys my final product after i settle the shoot session.

It is time to do mock up product!

Hai guys! For this post I want to share the process of making my Songket Clutch but you need to remember, its is my mock up. If this goes wrong dont worry. We will try again. So lets start!

First step : Prepare all the tools that we need to make bag pattern such as “L” ruler, measurement tape, pencil, brown paper.
Once the pattern ready,
cut the fabric.
Make a straight line using a “L” ruler and chalk.
Sew the part of zip that attach the lining and songket fabric.
Once it’s ready, overlap the lining side to make it more tidy.
Once the zip part is done.
Take the zip and sew on the zip.
Make sure the stitches balance on each site.
The stitches result! 
Balance each site so that your bag will look more tidy.
Sew the handle part and turn it over.
Once all part is complete, .
Its the time to attach the side of the bag with the zip part
Oh, before that do some stitch at the up and bottom of the zip.
Then, attach the part of side bag and the zip part
There are two side of it, Don’t forget the other side. Make sure it nice and tidy
Last but not least, sew the handle part on the top of it. Make sure to balance each side.
Lastly, .
Make sure to iron all the part that we have been sew to make it more nice and tidy.
Now, Its done!

Btw, this only my mock up bag, I will show you guys my final bag soon.
Stay tuned.

My Boards !

Welcome back! I have been given this task which is I need to make two pieces of boards. One is my Organization Board and the other one is my Mood Board or we can also call it Creative Board.

Why we have to do all this kind of board?

It is because all this board can give us the new idea and inspiration to create/generate new idea during this process.

Let me show you my Organization Board

Close up For the Songket Motif Section
Close up for Material Section
My Mentor Miss Fatin.
Colour Scheme Section
Last but not least, Variety Type of Songket

let move out to the other board which My Creative Board!

Full Size of Creative Board
Close up the title of my Board
My Inspiration
My Render Design
Close up Colour Scheme Section
Material Section. Its a handmade Songket

So that it for my board. Feel free to ask me anything.
Till next time.
Bye2.


Textile Artist

Habibah Zakri, textile artist and entrepreneur, have been experimenting and developing songket as art to wear fabric as well as for use in interior designs. Her intimate knowledge of traditional designs and weaving techniques has contributed to her efforts in fostering and reviving interest in weaving industry. Habibah’s masterpiece in songket. The Garden, depicts a composition of a profusion of flowers in gold and silver adorning the luxurious songket brocade panel.

Tengku Ismail Tengku Su, continues to preserve and enrich the weaving tradition of the east cost by maintaining the quality of craftsmanship and richness of traditional motif of songket cloth that are both courtly and classic.

The malay songket of Sarawak exemplifies the simplicity of one colour ornamented with metallic thread. The skill of master weaver, Hajjah Zainab, is embodied in her illustrious songket entitled, Midnight Blue for the Bridegroom. In an innovation of the Corak Bugis motif, The textile artist Prof Madya Dr Norwani Mohd Nawawi interprets the design in a songket piece by using a subtle combination of black and grey, while creating interest on the central panel of the fabric. This primary an ornamental piece rather than functional.

Their Masterpiece Songket

Handmade Songket in various motif and colour

Hai guys,
Come and watching this video.
Its full with variety handmade songket.

Weaving Origins and Traditions

The origins of weaving in Malaysia remain wrapped in lagends and obscurity. However, it is known that there has been a long tradition of weaving. Luxury items such as silver, gold and threads with these precious metals as well as Chinese and later Indian and Thai silks for weaving were all part of trade items since at least the late 15th century.

The Sejarah Melayu (Malay Annals), the Chinese Ming Annals andthe Suma Oriental of Tome Pires record the use of sumptuous court costumes and textiles in the Malaccan Sultanate of the 16th century.

We are also aware that Indian traders first brought the primitive back-strap loom, and with it the use of cotton, to the Malayan region, although this was superseded by the simple frame loom, still in use today, which was probably introduced from Western Europe in the 16th century (Gibson-Hill and Hill, 1951 and Grace 1. Selvanayagan, 1990). In these early days, it had been recorded that Kelantan and Terengganu had two centres producing the fabled double ikat kain cindai under the influence of the Indian immigrants (Buhler 1959).

Woven Textiles in Malaysia is a heritage of the Malays in both Peninsular Malaysia and Sarawak where the Ibans also excel, as well as some of the indigenous groups in Sabah, like the Bajaus.

Amongs the Malays, songket in sarong, samping or selendang represents today the classic brocade for ceremonial use, i.e. passage of the time rites like weddings, circumcision, celebration of Muslim new year and funerals. Beforethe 19th century, its use was almost exclusive for the courts and nobles as opulent ceremonial wraps. Royal families have been known to compete in the display of these masterpiece and heirlooms at important occassions when such displays are made of these symbols of prestige and power. These songkets are of sheer gold or silver or combination supplementary weave over mostly silk (sometimes cotton) ground material.

Prior to the 19th century, these textiles were produced under royal patronage and differing restrictions on use were often prescribed by different rulers, Generally, the yellow colored textiles were all exclusive to purely royal use. Gold and silver songkets in these early days were not allowed to be used by commoners and ‘it was only much later that they were allowed to wear it and then only on one day – their wedding day’ so much so that ‘subsequently a part of a border design created was given the name raja sehari’ (king for a day) (Grace l. Selvanayagan, 1990).

By the 19th century, these rules were more relaxed and more affluent commoners have begun woven their own songkets.

The Heritage Of Malaysian Textile Weaving

Introduction to Ancient Roots And Spheres Of Influence

Malaysia is strategically located at the crossroads of the main maritime entreports of China, India and beyond to Africa. By the turn of the 1st millenium, the Greek cartographer Ptolemy had already given the Malayan Peninsula the reference of the “Golden Khersonese” – the Golden Leaf. Fabled for her gold, tin and natural resources from the rain forests and coastal waters, she attracted international maritime barter and commercial trading on her shores, facilitated by the annual monsoon trade winds. Chinese, Indian and Arab traders came as early as the 5th century A.D.

She felt the influence of the Buddhist Srivijaya Empire from the late 7th century A.D. and subsequently the Hindu Majapahit Empire from the 13th century in her court circles as in the Javanese Majapahit claim on Pahang after an attack on the Srivijayan capital in Jambi. The early archaeologist finds from Kedah, Sarawak River Delta and the East Sumatran coasts suggest a homogenous cultural sphere in the realm of the Malay Archipelago.

The northern peninsular states together with southern Isthmus states of Siam were under more than 2 centuries of the Langkasuka Empire with links to old Champa from the 6th century A.D. They later became vessel states of Siam under Sukhotai and Ayudhya in the 13th to 14th century when the Ligor rulers challenged Srivijayan hold on the area. From then, Siamese influence remained strong till the early 20th century when King Rama IV and Rama V struck more reconciliatory notes. By 1909 with the Bangkok treaty, these northern states became British. However, the effect of the Siamese dominion in the Northern Malay Peninsular states remain to this day when the gigi Yu (sharks’teeth) motifs are used around the classic Malay pucuk rebungs, reminiscent of the Siamese flames on this old Malay world icon.

Songket Artworks

The Malay songket is a traditional handwoven fabric using the supplementary weft technique of metallic threads of gold and silver. It has been a source of inspiration for ideas and development of new designs and patterns to invoke new usage of fabric as an artform.

The visual impact of the songket on viewer is perhaps best expressed in the words of Grace Selvanayagam, the author of Songket, Malaysia’s Woven Treasure where she describes it as ” a rich, luxurious, ceremonial fabric, handwoven in silk or cotton, and intricately patterned with gold (and sometime silver) thread which stands out in subtle relief on the background cloth. The interplay of light and gentle shadow on the fabric create a gorgeous shimmery effect, making it undoubtedly the “queen” of handwoven fabrics”.

This ornamental fabric is worn at ceremonial and social functions, and religious celebrations. This “cloth of gold” when used as a sarong is neatly wrapped around the waist, ensuring that the patterns on the cloth should be positioned on the body as intended. In a sarong, the central panel of the cloth is worn at the back and admired for its intricate patterns and symbols. Today, the songket sarong has been adapted for non-traditional use as decorative panels and wall hangings.

My Mentor’s Product

Here some of my mentor’s product.
It was a Sampin Songket and some of it worth ten thousand ringgit.

My Mentor Miss Fatin

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