Olive Cream Batik Outerwear

Jasmine begins in Jakarta, Indonesia, the city where I was born, raised, and first came to understand the subtle intricacies of womanhood. Growing up in a city shaped by extraordinary cultural richness, I witnessed both the resilience of women and the unseen challenges they continue to navigate. Those experiences shaped my perspective, deepened my empathy, and inspired a lifelong commitment to creating work that honors dignity, belonging, and purpose.

Inspired by the jasmine flower, a cherished symbol of grace, devotion, and enduring strength, this collection is a personal reflection on identity, love, vulnerability, and transformation. It explores the delicate balance between growth and grief, revealing that true strength is not found in perfection, but in the courage to remain compassionate, embrace change, and continue moving forward with hope.

More than a collection, jasmine is a tribute to home and to the women whose resilience continues to define generations. It reflects my belief that culture is more than heritage to preserve. It is a living legacy that carries memory, nurtures belonging, and connects people through stories that are meant to be worn, shared, and remembered.

Batik

Handcrafted in Java, Indonesia, each batik piece is created using the traditional batik cap (stamp) technique. Skilled artisans use hand-carved copper stamps to apply hot beeswax onto the fabric with precision, creating intricate patterns while maintaining the authenticity and artistry of Indonesia's batik tradition. This method ensures consistency in the motif while preserving the handcrafted character that defines one of Indonesia's most celebrated textile heritages.

Tenun Belt

Handwoven by artisans in Makassar, South Sulawesi, the belt reflects Indonesia’s rich weaving traditions through a contemporary interpretation. Each colorway honors the region’s textile heritage.

Purple Pink draws from Kain Bulu Kumba, a textile tradition associated with Bulukumba, often characterized by softer tonal variations and nature-inspired motifs that reflect coastal landscapes, resilience, and a deep connection to place.

Designed to complement the batik garment, the belt becomes more than a functional piece. It represents the dialogue between regions, craftsmanship, and memory, where each thread carries meaning and each color preserves a story of cultural continuity and timeless elegance.

Signature Jewelry Buckle

The signature buckle is inspired by the graceful forms of jasmine petals and the intricate details found in traditional batik motifs. Handcrafted from recycled steel and finished with colorful hand-applied beads, it transforms a functional element into a sculptural piece of wearable craftsmanship, celebrating the harmony between heritage, artistry, and contemporary design.

Every Studio Alifah Malik piece is shaped through a network of materials, places, and skilled hands. The collection brings together lightweight batik from Semarang, Central Java, handwoven tenun connected to communities in Sengkang and Bulukumba, South Sulawesi, and signature metal accessories produced by home-based makers in Depok, West Java.

Rather than relying entirely on standardized industrial production, each element develops through careful preparation, repeated manual processes, and the maker’s judgment. From applying the batik motif and arranging hundreds of threads on a loom to forming and finishing a custom buckle, the process reflects a dialogue between cultural knowledge, contemporary design, and material responsibility.

Preparing the Batik Fabric

Our batik begins with a lightweight 65 GSM fabric. GSM refers to “grams per square meter” and measures the weight and density of a material. At 65 GSM, the fabric is light, breathable, and softly draped, making it comfortable for movement, layering, and warm climates.

Approximately three meters of batik fabric are prepared for each garment. Before the motif is introduced, the fabric is measured and inspected for inconsistencies. It is then washed to remove residual substances that could interfere with the absorption of the resist medium or color. Once clean, the fabric is dried, smoothed, and arranged on a level working surface.

This preparation is essential. Even minor traces of residue, moisture, or uneven tension can influence the clarity of the motif and the final distribution of color.

Creating the Motif Through Batik Stamp

The fabric is decorated using a batik cap, a traditional Indonesian resist-dyeing technique. The pattern is transferred with a handcrafted stamp, traditionally constructed from copper, that carries the motif across its surface.

The resist medium is heated until it reaches a workable consistency. The artisan carefully places the stamp into the heated material, removes any excess, and presses it onto the fabric. Each impression protects selected areas from absorbing color.

This movement is repeated across the full length of the cloth. The artisan must position every impression so that it connects accurately with the next, creating a continuous composition over approximately three meters of fabric.

Although batik cap allows a motif to be repeated more consistently than batik tulis, the work remains handmade. Its precision depends on the artisan’s understanding of the following categories. 

• The temperature and consistency of the resist medium
• The pressure applied to the stamp
• The amount of resist carried by its surface
• The positioning and alignment of each impression
• The absorption and behavior of the base fabric

If the resist medium is too cool, it may remain on the surface rather than penetrate the fabric sufficiently. If it becomes too hot, it may spread beyond the intended lines. Uneven pressure can also create subtle differences between impressions. The artisan must therefore adjust continuously throughout the process.

Developing Color from Botanical Materials

After the resist pattern has been completed, the fabric enters the coloring stage. The collection incorporates colors developed from selected botanical sources traditionally used in Indonesian fabric practices, including leaves, bark, wood, and other plant-derived materials.

The ingredients are cleaned, cut, soaked, or heated to release their natural pigments. The extracted liquid is then filtered and prepared for application. Depending on the intended shade, the fabric may be immersed, dried, and recolored several times.

Natural color is built gradually rather than applied as a single uniform coating. Every immersion adds depth, while drying between applications allows the artisan to observe how the pigment is developing. Water composition, temperature, humidity, the age of the plant material, and the structure of the fabric can all influence the outcome.

A fixing stage helps the color bind to the fibers and may alter its final character. Botanical pigments can respond differently to various fixing substances, producing shifts in tone from one bath to another. The artisan must balance the intended palette with the natural behavior of the ingredients.

This sensitivity makes natural coloring less predictable than standardized industrial coloration. The resulting variations are not production faults. They record the relationship between the botanical material, the surrounding environment, and the maker’s decisions.

Removing the Resist and Finishing the Batik

Once the desired color has been achieved, the fabric undergoes pengelorodan, the traditional removal of the resist medium. The cloth is placed in hot water, allowing the hardened material to release from the fibers and reveal the protected motif beneath.

The fabric is then washed to remove remaining residue, dried, and inspected. The makers examine the clarity of the pattern, depth of color, texture, and overall condition before the cloth is prepared for garment construction.

Producing one batch of batik caps may take approximately 7 to 21 days. A composition involving several colors, repeated botanical dye baths, additional resist applications, or prolonged drying may require approximately two to four weeks.

Preparing the Tenun

The collection also incorporates tenun, a handwoven fabric created by interlacing two systems of thread. The warp threads extend vertically along the length of the loom, while the weft thread moves horizontally over and under them.

The process begins with selecting and preparing the yarn. It may be sorted, wound, cleaned, and colored according to the intended composition. The artisan then measures the warp threads and arranges them in the correct sequence.

Warp preparation is one of the most intricate stages of weaving. The number, order, spacing, and tension of the threads determine the width, density, pattern, and stability of the finished fabric. A misplaced or unevenly tensioned thread can affect the structure of the entire panel.

Once arranged, the warp is installed on the loom. Depending on the community and workshop, artisans may use a gedogan, or backstrap loom, or an ATBM, meaning “Alat Tenun Bukan Mesin”. An ATBM is a manually operated frame loom rather than an electrically powered industrial machine.

The Handweaving Process

After the loom has been prepared, the artisan begins passing the weft thread through the warp. The weft travels from one side to the other and is pressed firmly into position. This sequence is repeated row by row until the complete fabric emerges.

The artisan continually controls the tension of the warp, movement of the shuttle, order of the threads, compactness of the weave, and consistency of the fabric’s edges. Patterns may be created by changing the arrangement or color of the yarn and, in more intricate compositions, introducing supplementary threads.

A traditional tenun panel commonly measures approximately two to three meters in length and 50 to 100 centimeters in width. Fabrics woven on a wider ATBM may reach approximately 100 to 120 centimeters. Unlike industrial fabric sold in continuous standardized rolls, the dimensions of handwoven tenun are shaped by the loom and the artisan’s working range.

Preparing the yarn and installing the warp may require approximately two to five days. Weaving a panel measuring two to three meters may take another one to two weeks. Fine yarns, dense structures, botanical coloring, or complex patterns may extend the complete process to approximately three or four weeks or longer.

Bugis Weaving from Sengkang

Sengkang, located in Wajo Regency, South Sulawesi, is closely associated with the weaving traditions of the Bugis people. Its fabrics may feature stripes, checks, geometric arrangements, and carefully considered combinations of color.

Depending on the intended fabric, artisans may work with cotton, silk, or other yarns. Each thread contributes to the structure of the pattern, making careful preparation as important as the act of weaving itself.

A Sengkang tenun panel may require approximately one to three weeks to complete, although the exact period depends on its yarn, dimensions, density, and pattern. The tradition should not be understood as a fixed visual style. It remains a living practice shaped by the knowledge and creativity of contemporary Bugis weavers.

Kajang Weaving from Bulukumba

Kajang weaving comes from the Kajang community in Bulukumba Regency, South Sulawesi. Its material tradition is closely connected to customary knowledge, collective identity, and relationships with the surrounding environment.

The production process may include preparing and coloring the yarn, measuring and arranging the warp, installing the threads on the loom, and weaving the fabric manually. Traditional Kajang cloth is often associated with restrained, dark coloring and values of simplicity and equality within customary life.

Depending on the coloring method and woven structure, a complete Kajang panel may take approximately two to four weeks to produce. Its significance extends beyond decoration. The fabric carries relationships between clothing, land, inherited knowledge, and community life.

Developing the Signature Buckle

The process continues in Depok, West Java, where our signature accessories are produced by home-based makers. Instead of using a mass-produced fastening, Studio Alifah Malik developed an original buckle design to complement the fabrics, colors, and narrative of the collection.

Recycled steel is collected and carefully sorted before entering the production process. The material is cleaned and prepared to remove unwanted residue. It is then melted under controlled conditions and reshaped using a mold created for the buckle’s intended form. Once cooled and released from the mold, the component may still carry rough edges and surface irregularities that require further hand-finishing.

The makers refine the shape through cutting, filing, smoothing, and polishing. Individual components are assembled and checked to ensure that the buckle opens, closes, and holds the belt securely. Decorative details and color may then be added according to the final design.

The finished buckle undergoes a visual and functional inspection before being paired with the garment. The makers assess its surface, edges, fastening mechanism, and overall stability to ensure it can perform as both a practical closure and a distinctive design element.

This process gives discarded material a renewed purpose while supporting small-scale craftsmanship and home-based livelihoods. It also allows the accessory to become an intentional part of the garment rather than a component selected from a ready-made catalog.

Because the buckles are formed and finished in small batches, slight variations in surface, shape, color, and polish may occur. These differences reflect the material’s previous life and the human involvement behind its transformation.

Garment Construction and Assembly

Once the batik, tenun, and signature buckle are complete, the materials are brought together during garment construction. The batik is inspected and positioned so that the motif remains balanced across the finished silhouette. Pattern pieces are arranged carefully to make considered use of approximately three meters of fabric.

The tenun is measured according to its naturally woven width and incorporated as a belt or complementary detail. Because handwoven panels do not always follow standardized industrial dimensions, their placement must respond to the actual fabric rather than forcing the material into a predetermined format.

The buckle is then attached and tested with the completed belt. The garment is sewn, pressed, measured, and inspected before its final preparation. Attention is given to the alignment of the pattern, stability of the seams, function of the fastening, and relationship between the batik, tenun, and metal accessory.

Through this final stage, the knowledge of several makers and regions comes together in one garment. Central Javanese batik, South Sulawesi weaving, West Javanese metalwork, skilled garment construction, and contemporary design each contribute to the finished piece. The result reflects a collaborative process in which traditional craftsmanship and modern design are equally valued.

The Character of the Finished Piece

No three Studio Alifah Malik pieces will be completely identical. Botanical color responds to its ingredients and environment. Batik impressions record changes in pressure and placement. Handwoven threads reveal the rhythm and tension of the loom. Recycled metal retains subtle traces of its transformation.

Minor differences in color, motif alignment, weave, dimensions, texture, and metal finish are not imperfections. They are evidence of the people, places, materials, and processes behind the finished garment.

Each piece connects many forms of authorship. It begins with fiber and botanical material, moves through the hands of batik artisans, weavers, metalworkers, and garment makers, and arrives as a contemporary design carrying the knowledge of its making.

Note : “Production periods and tenun dimensions are approximate and may vary according to the artisan, loom, yarn, pattern, botanical ingredients, weather, and number of pieces produced”.

“The recycled-steel description should be confirmed with the buckle makers, particularly the exact alloy, melting, casting, surface treatment, and protective finish used”.

Fabric Foundation

Every Studio Alifah Malik garment begins with a thoughtfully selected fabric foundation, chosen to unite refined comfort, lasting performance, responsible sourcing, and respect for the environment. Our approach to material development is rooted in the belief that exceptional design begins with exceptional materials.

TENCEL™ Lyocell

Our signature fabric foundation incorporates TENCEL™ Lyocell, a premium cellulosic fiber produced from wood pulp sourced from responsibly managed and controlled forest origins, including eucalyptus. The fiber is manufactured through an innovative closed-loop production process in which more than 99.8% of the organic solvent is recovered and returned to the production cycle, helping minimize waste and reduce the environmental impact of fiber production.

TENCEL™ Lyocell is naturally soft and smooth against the skin, with excellent moisture management that helps maintain a comfortable, naturally dry feeling. Its breathable structure and moisture-regulating properties make it well suited to warm climates, while its soft hand feel provides a cooling and comfortable experience for everyday wear.

The fiber is also recognized for its skin-friendly characteristics. TENCEL™ Lyocell is designed to provide a smooth, gentle surface, making it especially suitable for garments intended for sensitive skin. Where applicable, our material development and fabric testing are conducted with qualified laboratories and research partners to evaluate key performance qualities, including surface smoothness, excellent color absorption, exceptional softness, breathable comfort, and long-lasting durability. Together, these properties support effective moisture management and enhance overall skin comfort. Any dermatological or eczema-related claims are only made when supported by independent laboratory testing and relevant certifications, confirming the fabric’s suitability for sensitive and eczema-prone skin in those specific cases.

Responsible Fiber Innovation

The TENCEL™ Lyocell used within our fabric foundation is supported by internationally recognized environmental and product-safety standards. TENCEL™ Lyocell fibers are certified under the EU Ecolabel for textile products, reflecting environmental considerations across their life cycle. TENCEL™ products are also certified to OEKO-TEX® STANDARD 100, Class I, subject to the applicable product certification, providing assurance that certified products have been tested for harmful substances under strict safety requirements.

TENCEL™ fiber production is further supported by internationally recognized management standards, including ISO 9001:2015 for quality management, ISO 14001:2015 for environmental management, and ISO 45001:2018 for occupational health and safety. The wood used for TENCEL™ Lyocell is sourced according to responsible forestry requirements and may come from controlled or certified origins meeting FSC® or PEFC standards under Lenzing's responsible wood and pulp sourcing policies.

White Mercer Mechanical Stretch

Before entering our hand-batik process, the fiber is developed into our White Mercer Mechanical Stretch fabric, a carefully selected premium base fabric engineered to provide a smooth and refined surface for artisanal application. Its balanced construction supports excellent color absorption, softness, breathability, flexibility, and durability, allowing the fabric to move comfortably with the body while providing an ideal foundation for intricate batik artistry.

The combination of TENCEL™ Lyocell, responsible fiber production, and our selected mechanical-stretch fabric foundation allows Studio Alifah Malik to bring together traditional Southeast Asian craftsmanship with contemporary material innovation.

We believe sustainability should not be separated from beauty, performance, or cultural integrity. Our fabric foundation is therefore designed not simply as a material, but as part of a broader commitment to responsible innovation, thoughtful craftsmanship, and the development of garments that feel as considered as the stories and communities from which they originate.

Natural Dye Ingredients

Every Studio Alifah Malik collection is naturally dyed using botanical ingredients native to Indonesia. Rather than relying on synthetic chemicals, we preserve generations of traditional dyeing knowledge by transforming plant-based materials into rich, timeless colors that celebrate the beauty of nature.

• Jolawe (Terminalia bellirica) Creates warm earthy brown tones while adding richness and depth to the final color.

• Tingi (Ceriops tagal) A traditional Indonesian mangrove bark that produces deep reddish-brown hues and enhances color intensity.

• Teak Leaves (Tectona grandis) Naturally produce soft olive-cream shades, creating one of the signature colors of the collection.

• Mahogany Bark (Swietenia macrophylla) Produces warm peach, terracotta, and muted blush tones depending on the natural dye concentration and mordanting process.

All botanical ingredients are responsibly sourced from Indonesia and processed using environmentally conscious, low-impact dyeing methods.

Natural Mordant Process

To ensure lasting color while preserving the integrity of natural dyes, every fabric undergoes a traditional mordanting process. We use Tunjung (Ferrous Sulfate) as a natural mordant to strengthen the bond between plant-based pigments and the fabric fibers. This traditional technique improves color fastness, enhances wash durability, and naturally deepens each shade without the use of synthetic chemical stabilizer.

Signature Color Palette

Olive Cream

The Olive Cream colorway is developed through a carefully balanced combination of these ingredients.

• Teak Leaves

• Jolawe

• Tingi

• Tunjung Mordant

Together, these natural ingredients create a refined olive hue with warm earthy undertones inspired by Indonesia's tropical forests.

Base Color

Brown tones derived from Jolawe and Tingi, naturally mordanted with Tunjung.

Background Color

Natural olive cream created from Teak Leaves.

Our Sustainable Material Philosophy

At Studio Alifah Malik, every fabric represents the harmony between Indonesian heritage craftsmanship and modern sustainable innovation.

Our garments are handcrafted using responsibly sourced TENCEL™ Lyocell fabric, naturally dyed with Indonesian botanical ingredients, and created through traditional batik techniques passed down across generations. By combining renewable fibers, plant-based dyes, and low-impact production methods, we honor cultural heritage while reducing environmental impact and supporting a more responsible future for fashion.

Because every piece is dyed using natural botanical ingredients, slight variations in color, depth, and pattern are part of its beauty. These subtle differences are not imperfections, they are a reflection of nature, the hands of our artisans, and the individuality that makes every Studio Alifah Malik garment truly one of a kind.

• Bust Circumference: 120 cm
• Garment Length: 58 cm
• Sleeve Length: 50 cm

At Studio Alifah Malik, every piece is created with intention. We embrace a slow fashion philosophy that values craftsmanship, cultural heritage, and responsible production over mass manufacturing. By producing in small quantities and offering made-to-order pieces, we help reduce waste, support a circular economy, and contribute to a more thoughtful approach to fashion.

Many of our collections are handcrafted by small-scale and Indigenous artisan communities across Southeast Asia using traditional techniques passed down through generations. Because each garment is carefully made by hand and natural materials are used throughout the process, only a limited number of pieces are available for immediate purchase.

If your selected piece is not currently in stock, it will be crafted especially for you. Please allow approximately 4–6 weeks for production before shipment. This timeline allows our artisans to work at a fair and respectful pace while ensuring every detail meets our highest standards of quality, craftsmanship, and authenticity.

Our Tenun pieces require additional time and care. Each textile is woven by hand by our artisan partners, making every piece naturally unique. Variations in color, texture, and pattern are a reflection of the handmade process and the beauty of Indigenous craftsmanship. No two pieces are ever exactly alike.

As we continue our early development phase, we remain committed to thoughtfully refining each collection, exploring meaningful patterns inspired by Southeast Asian heritage, and working with organic, natural materials wherever possible. In close collaboration with our artisan partners, we strive to preserve Indigenous knowledge while creating timeless pieces that honor both people and the planet.

Thank you for supporting ethical craftsmanship and choosing to invest in fashion and accessories that create lasting cultural, environmental, and social impact.

Every Studio Alifah Malik piece is thoughtfully handcrafted using natural fibers, plant-based dyes, and traditional artisan techniques.

Because of the nature of these materials and processes, each garment is unique and deserves mindful care to preserve its beauty for years to come.

We believe that caring for your clothing is an extension of caring for the people, cultures, and environments that created it. With proper care, your piece can be treasured, repaired, and passed on, supporting a more circular and responsible approach to fashion.

• Hand wash gently in cold water using a mild, pH-neutral detergent
• Wash separately during the first few washes, as naturally dyed fabrics may release a small amount of excess color
• Do not bleach, soak for extended periods, or use harsh chemicals, as these may damage the natural fibers and botanical dyes
• Dry naturally in the shade and avoid prolonged exposure to direct sunlight to help preserve the richness of the natural colors
• Steam or iron on a low temperature, preferably on the reverse side of the fabric
• Store your garment in a cool, dry place away from excessive humidity and direct sunlight

Natural variations in color, texture, and weave are not imperfections but a celebration of handcrafted artistry and the individuality of every piece. These subtle differences reflect the hands of our artisans, the character of natural materials, and the heritage techniques that cannot be replicated by machines.

By choosing to care for your garment with intention, you are helping extend its lifespan, reduce unnecessary waste, and support a future where fashion respects both people and the planet.

Thank you for becoming part of a movement that values craftsmanship, cultural preservation, and conscious living.

Every Studio Alifah Malik garment is shaped by the hands, knowledge, and communities behind its creation. We collaborate with small-scale artisans, independent makers, home-based craftspeople, and traditional textile communities across Indonesia, bringing Southeast Asian heritage into a contemporary design language while honoring the people who sustain these practices.

• Batik Artisans | Semarang, Central Java

  Our batik is handcrafted using traditional resist-dyeing techniques, involving careful preparation, resist-dyeing application, coloring, drying, washing, and finishing. Bu Putri, Bu Ngatmi, Mas Hardy, and Mas Didik contribute their craftsmanship and technical knowledge to the character of each fabric.

• Garment Makers | Semarang, Central Java

  Bu Sumirah and Bu Dwik transform our finished fabrics into garments and belts through precise, small-scale construction. Their work represents the skilled handwork that continues long after the fabric itself has been created.

• Traditional Tenun Weaving | Makassar, South Sulawesi

  Our collection incorporates Kain Sengkang and Kain Bulu Kumba, connecting the garments to handweaving traditions associated with Bugis and Kajang communities. Through contemporary applications, we seek to celebrate these textile traditions while respecting their cultural origins.

• Jewelry Makers | Depok, West Java

  Our signature accessories are handmade by home-based makers using recycled steel and small-scale production methods, connecting material reuse with craftsmanship and local livelihoods.

• Creative Documentation | Semarang, Central Java

  Mbak Mya Octaviana contributes to documenting and communicating the development of our batik, helping bring the stories, processes, and people behind the craft closer to our wider community.