Batik Sarong Motifs as Modern Jewellery Design Inspiration: Exploring Student Creativity and Design Potential

Batik Sarong Motifs as Modern Jewellery Design Inspiration: Exploring Student Creativity and Design Potential

Nur Syafinaz Mohd Anuar^*, Mohd Zamani Daud, Mohd Faiz Jalaludin

Faculty of Art & Design, Universiti Teknologi MARA (UiTM) Kelantan Branch, 18500 Machang, Malaysia

*Corresponding Author

DOI: https://dx.doi.org/10.47772/IJRISS.2025.906000248

Received: 29 May 2025; Accepted: 06 June 2025; Published: 10 July 2025

ABSTRACT

This study explores the reinterpretation of traditional batik sarong motifs within modern jewellery design through a structured design course at the College of Creative Arts, Universiti Teknologi MARA (UiTM), Kelantan. Using content analysis, the research examines how diploma-level students applied cultural visual elements into the design and rendering of bracelets as part of the Jewellery Design Fabrication Project (JMD246). The study focuses particularly on the third phase of the design process: manual and digital rendering. Students were required to develop their concepts through the integration of traditional Malaysian motifs, supported by a structured consultation and critique process. The outcomes were assessed using established design criteria, including visual appearance, aesthetics, form and function, telesis, innovation, and lifespan. Additionally, students rendered their final jewellery designs using SolidWorks CAD software, enabling detailed visualization and design refinement. The findings reveal that students were successful in translating cultural inspiration into wearable art forms while simultaneously developing technical competency in both manual and digital design practices. The study highlights the value of integrating cultural heritage into design education and the potential for modern jewellery to function as a medium of cultural storytelling and preservation.

Keywords: Batik Sarong, Craft Identity, Design Education, Jewellery Design, Jewellery Rendering

INTRODUCTION

Jewellery and batik are two traditional art forms deeply embedded in the cultural identity and daily life of Malaysian women. Historically, both have been closely associated with femininity and social expression. Md. Noor. (2014) highlights that the act of wearing a batik sarung, particularly through its characteristic “wrapping and tying” technique, symbolically enhances the femininity of the wearer. Beyond its aesthetic function, the batik sarung serves as a cultural artefact, acting as an intermediary that binds individuals to tradition, community, and heritage.

In contemporary Malaysian society, jewellery remains a significant object of personal adornment and expression. Malay women exhibit a strong affinity for owning jewellery, as it provides personal satisfaction, expresses social identity, and reflects their appreciation for beauty (Anuar, Daud, & Ibrahim, 2021; Jalaludin et al., 2024). This shows how traditional values remain closely connected to modern goals, especially in the way people use jewellery to express themselves. As craft and design continue to evolve, there is a growing need for new and creative ways to preserve and reimagine traditional elements

Abdullah (2020) contends that the revitalization of batik production lies in creatively extending traditional motifs onto alternative platforms, thereby fostering a harmonious blend of heritage and innovation. In alignment with this perspective, Hashim, Rahman, & Khairi (2020) emphasize that traditional motifs, when reinterpreted through contemporary design approaches, can be transformed into distinctive and meaningful jewellery pieces.

Baasanjargal & Ahn (2019), along with Wesnina et al. (2025), assert that batik motifs possess not only profound cultural significance but also substantial versatility, enabling their adaptation across a broad spectrum of creative disciplines. This adaptability is evidenced by the continuous evolution of batik design, wherein traditional elements are thoughtfully integrated with contemporary aesthetics through ongoing artisanal innovation aimed at preserving cultural identity while appealing to modern sensibilities.

This study was based on an initiative to use the batik sarong as inspiration for creating bracelet designs in a jewellery design fabrication course. The main aim was to explore how traditional Malaysian batik sarong motifs could inspire the development of modern jewellery within a design context. The objectives of the study were to observe the students’ ability to identify, analyse, and translate the batik sarong as a subject matter into new bracelet designs through the jewellery design process.

LITERATURE REVIEW

Batik: A Traditional Malaysian Art

Batik is a traditional textile art form widely recognized across cultures around the world for its intricate design techniques and deep cultural symbolism. Batik is an important part of Malaysia’s culture and art. It is more than just a method of decorating fabric, it reflects the traditions, values, and identity of the Malaysian people.

The term batik is commonly understood to originate from the Javanese words amba (to write) and nitik (dot), and is also linked to the Malay word tik, which originally referred to “dots” or “drops” but later evolved to encompass the broader meaning of writing or drawing, reflecting its strong association with patterned design techniques (Legino, 2012; Warming & Gaworski, 1981, p. 143). In the Malaysian context, batik stands out as a prominent traditional craft that combines artistic expression with cultural heritage. It involves the manual application of wax-resist dyeing and is widely used not only in clothing but also in a variety of functional and decorative items.

As noted by Mohd Zaki et al. (2021), batik in Malaysia is not confined solely to garments but also extends to handicraft items such as souvenirs and interior or exterior ornaments, thereby illustrating its versatility and adaptability in both utilitarian and artistic domains. The two predominant forms of Malaysian batik today are block-printed (batik cap) and hand-painted (batik canting), which are typically distinguished by the tools employed and differ in their production methods, motifs, and aesthetic outcomes. Block-printed batik, in particular, remains a preferred choice among Malay communities and is commonly produced as batik ela (unsewn fabric) or batik sarung (wrap skirts).

As described by Anuar et al. (2022) and Sejahan (2021), batik motifs reflect the traditions, natural surroundings, and cultural values of Malaysian society, carrying both symbolic meaning and aesthetic significance. These motifs are generally categorized into two main types: organic, which are inspired by elements such as flora, fauna, and clouds, and geometric, which include stylized shapes like spirals and repetitive patterns.

Furthermore, Malaysian batik distinguishes itself from other regional styles through three defining characteristics: the use of vivid and vibrant colours, the predominance of floral and botanical motifs, and the hand-painting technique using a dab-brush stroke. These elements collectively embody the Malaysian artistic identity and visual culture. As noted by Ibrahim (as cited in Sejahan, 2021), the handmade quality of Malaysian batik further underscores its status as a craft rooted in cultural heritage, individual creativity, and artisanal skill.

Batik Sarong: Culture And Design

The art of batik is historically celebrated for its intricate methods of cloth decoration, involving wax-resist dyeing techniques that result in complex and meaningful patterns. Over time, this technique has expanded beyond decorative fabric into the realm of apparel, particularly in the form of the batik sarong. Among the most culturally significant manifestations of batik in Malaysia, the batik sarong remains an essential component of traditional attire, symbolizing identity, modesty, and aesthetic refinement. While batik has been embraced in various Southeast Asian nations, the Malaysian batik sarong—produced primarily in Kelantan and Terengganu—is distinctive for its regional characteristics, locally sourced motifs, and handcrafted methods. These regions continue to serve as important centers of batik production, preserving both the traditional knowledge and cultural artistry associated with this textile heritage (Legino et al., 2012; Zuhir et al., 2022).

The batik sarong is not simply a decorated textile; it is a highly structured garment comprising specific design components that reflect both artistic sensibility and cultural function. The layout of the batik sarong typically consists of four integral parts: the kepala kain (head or focal motif), the badan kain (central field or body of the cloth), the apit kain (side flanking borders), and the tepi kain (outer edge or hem). Each of these elements plays a specific visual and symbolic role. The kepala kain often features the most elaborate and visually dominant motif, designed to catch attention and anchor the composition. The badan kain provides continuity and flow, often filled with repeated motifs or rhythmic patterns. The apit kain and tepi kain, while functioning as decorative borders, also frame the overall composition, enhancing the symmetrical balance and completeness of the garment.

The motifs used in these compositions are not arbitrary. In fact, the recognition and value of batik sarong design are strongly tied to the formation of distinctive patterns that are deeply rooted in the local cultural and natural environment. According to Che Pa (2012), the inspiration for these motifs is primarily drawn from indigenous elements such as flora (e.g., hibiscus, frangipani, bamboo), fauna (e.g., fish, butterflies, birds), and geometric forms (e.g., spirals, zigzags, symmetrical lines). These motifs are not only decorative; they serve as symbolic references to the surrounding ecosystem, traditional beliefs, and the lived experiences of the local community. For instance, floral patterns may symbolize beauty and femininity, while animal motifs may be associated with strength, spirituality, or protection.

In Kelantan and Terengganu, where Islamic influences also play a role, the representation of natural forms is often stylized or abstracted to comply with religious guidelines that discourage representational imagery. As a result, the batik designs from these regions are rich in metaphor and layered meanings, where the motif arrangement becomes a form of storytelling or cultural memory. Bold and contrasting colors are often used to show meaning, with certain colors linked to status, special events, or local identity.

Through its structured composition and rich symbolism, the batik sarong functions not only as a piece of clothing but also as a cultural artefact that embodies the identity, philosophy, and artistic heritage of the Malay world. ith Malaysia’s ongoing modernization, reusing and adapting batik sarong motifs in modern design fields like jewellery and fashion is key to preserving this cultural heritage

Malaysian Jewellery: History And Culture

The word jewellery finds its linguistic root in the Latin word jocale, meaning “plaything,” reflecting its historical association with adornment, status, and symbolic function. While the term implies amusement or pleasure, jewellery has always embodied a deeper human desire to express beauty, identity, and power. As an artifact of personal adornment, jewellery not only enhances physical appearance but also communicates social, spiritual, and cultural meanings across time and geography. Mohamad Ba’ai & Mohamad (2015) define jewellery as bodily ornaments made from both metallic and non-metallic materials, designed to be worn and displayed, thus occupying both physical and symbolic space in the wearer’s life.

Wilde & Marti (2018) emphasize that jewellery is often imbued with personal meaning, becoming iconic and emotionally significant to its owner. Beyond decoration, it can serve as a marker of life events, status symbols, heirlooms, religious emblems, or expressions of ethnic and national identity. Necklaces, earrings, rings, bracelets, tiaras, brooches, and anklets are among the many forms that jewellery assumes, and they are often crafted with a mix of materials including gold, silver, bronze, gemstones, shell, glass, or organic compounds like bone or wood.

In Southeast Asia, the history of jewellery is intertwined with the movement of trade and cultural exchange. Bellina et al. (2014) argue that while the precise origins of gold and silver jewellery in the region remain ambiguous, the Thai-Malay Peninsula has historically functioned as a critical node along the Maritime Silk Road. This route facilitated the influx of luxury goods—metals, stones, beads—from West Asia and India to the coastal societies of Southeast Asia. The cross-cultural trade enriched the artistic vocabulary of local craftspeople, leading to the emergence of a diverse jewellery tradition that integrated foreign influences with indigenous aesthetics.

Malaysia, with its strategic coastal geography and multicultural history, has developed a rich jewellery heritage. According to Mohd Kassim Hj Ali (as cited in Ibrahim et al., 2017), the jewellery-making tradition in Malaysia can be traced back to ancient times, particularly through the discovery of gold artefacts in early Malay civilizations. Goldsmithing has long been practiced, not only for economic and trade purposes but also for ceremonial, matrimonial, and religious functions. Malay jewellery often carries symbolic meaning—floral motifs representing femininity and life, crescent shapes indicating Islamic influence, or geometric forms reflecting order and spiritual harmony.

Daud et al. (2021) note that the use of gemstones and ornamental stones in jewellery further illustrates the desire for beauty as well as the representation of wealth and social prestige. Jewellery has also served as a medium to reflect one’s marital status, community affiliation, and even political allegiance. In Malay culture, jewellery is often worn during festivals, weddings, and important life events, showing its role in tradition and culture. Different regions have their own styles like the pending (belt buckle), kerongsang (brooch), and subang (earrings) with unique designs from places like Kelantan, Terengganu, and Melaka.

In recent decades, Malaysian jewellery design has seen renewed interest in heritage motifs and materials, particularly within the academic and creative sectors. Designers and scholars have explored ways to preserve traditional jewellery-making techniques while innovating through new forms, such as wearable art and contemporary fashion accessories (Anuar et al. 2022). Moreover, jewellery education and design curriculum in institutions of higher learning have begun to incorporate cultural studies, material exploration, and heritage-based projects. Such initiatives encourage students to reinterpret cultural elements—like batik, songket, or traditional Malay architecture—into new jewellery creations, reinforcing both artistic skill and cultural literacy.

Principles And Process Of Jewellery Design

While creativity plays a central role in jewellery design, it is equally important to adhere to a set of established principles that guide the effectiveness, aesthetics, and functionality of each piece. According to Augustus & Antonio (1917), six foundational principles form the basis of effective jewellery design: (1) Fitness to purpose, ensuring the design serves its intended function; (2) Unity between stones and ornament, achieving visual harmony; (3) Conformity with the personal characteristics of the wearer, ensuring suitability to individual style or personality; (4) Conformity with costume, ensuring compatibility with the wearer’s attire; (5) Nature and distribution of ornament, which involves balancing decorative elements; and (6) Possibilities and limitations of metal as a medium of expression, acknowledging the technical constraints and expressive potential of various materials (p. 239).

In contemporary design practices, additional aesthetic principles such as balance, emphasis, proportion, contrast, and unity continue to be integral in guiding designers toward producing visually compelling and meaningful jewellery (Wolf, 2022; Daud et al., 2022; Olver, 2002; Von Neumann, 1972). These principles contribute not only to the visual success of a design but also to the emotional and cultural resonance of the finished piece, thereby enhancing its market appeal and personal significance.

Complementing these principles is a structured design process that empowers designers to translate their creative vision into wearable creations. As outlined by Galton (2012) and further elaborated by Anuar et al. (2023) and Jalaludin et al. (2024), the jewellery design process typically comprises five key phases: ideation, sketching, rendering, 3D modelling, and prototyping. Each phase plays a critical role in transforming abstract inspiration into a refined and functional final product.

• Phase 1: Ideation

This initial phase involves searching for concepts through research, observation, and brainstorming. Designers draw inspiration from cultural motifs, natural forms, personal narratives, or contemporary trends, laying the conceptual foundation for the design.

• Phase 2: Sketching

In this stage, designers visually express preliminary ideas through manual or digital sketches. This serves as a quick method to explore form, composition, and motif placement before further development.

• Phase 3: Rendering

Rendering involves producing more detailed and polished illustrations that include visual elements such as colour, texture, reflection, and material properties. This helps communicate the aesthetic and functional qualities of the proposed design.

• Phase 4: 3D Modelling

Using computer-aided design (CAD) software, designers create virtual models of the jewellery. This stage allows for the examination of structure, ergonomics, and proportions from multiple angles, offering a critical evaluation before production.

• Phase 5: Prototyping

The final phase involves fabricating a physical prototype of the design, often using resin, wax, or metal. This model provides the designer with an opportunity to test scale, wearability, and structural integrity before the final piece is manufactured.

Each phase is interconnected, and together they form a comprehensive methodology that blends artistry, technical proficiency, and innovation. Mastery of both design principles and process is crucial in the education of jewellery designers, particularly when working with culturally significant sources of inspiration such as traditional motifs, indigenous materials, or heritage practices.

METHODOLOGY

Design Development Approach

This study utilized content analysis as the primary research method to assess jewellery design outputs created by students from the College of Creative Arts, Universiti Teknologi MARA (UiTM), Kelantan Branch. These students, currently enrolled at the diploma level, represent the next generation of Malaysian jewellery designers. At this stage, their formal training primarily focuses on the foundational understanding of design elements and principles. As early learners within the academic framework, their exposure to advanced design processes and professional practice remains limited, making their work a valuable site for observing emerging skills and conceptual growth.

To anchor this study, the subject Jewellery Design Fabrication Project (JMD246) was selected. This subject is structured to guide students through the creation of wearable jewellery, with an emphasis on bracelet production. While the course encompasses multiple stages of the jewellery design process, the scope of this paper is limited to an in-depth analysis of the third phase: rendering. This phase involves producing a full-colour, detailed visual representation of the jewellery design, including colour schemes, surface textures, material qualities, and spatial depth—executed in both manual and digital formats.

Table 1. Shows the brief project Jewellery Design Fabrication Project (JMD246)

The central theme for this design project was the Batik Sarung motif, a traditional Malaysian textile pattern selected as the subject matter to explore cultural interpretation through contemporary jewellery. Students were required to translate these traditional motifs into bracelet designs by applying their knowledge of composition, materiality, and design principles. The final renderings were submitted only after undergoing multiple rounds of consultation with lecturers, ensuring that the work demonstrated refinement, originality, and technical competence in accordance with course standards.

Table 2. Show motif on batik sarung as the students subject matter

According to McGrath (2007), inspiration in design may stem from a range of sources, including objects, emotions, people, places, or abstract forms. Once a source of inspiration is identified, the designer must begin the process of transforming it into a functional and expressive jewellery piece. This involves gathering visual data, producing exploratory sketches, and iterating through small-scale design solutions. McGrath emphasizes the importance of critical feedback and dialogue in this process, advocating for idea sharing with peers, instructors, and industry professionals to refine concepts and enhance clarity.

In line with this approach, a comprehensive set of criteria has been proposed for evaluating the quality and success of a jewellery design (Anuar, Daud, & Ibrahim, 2021). These include: visual appearance, form and function, aesthetic value, diversity of design and colour options, telesis (the integration of purpose with foresight), innovation, and lifespan. These evaluation standards not only provide measurable benchmarks for assessing student work, but also help cultivate design thinking that integrates creativity with strategic intention.

Through this approach, the research aims to assess how students internalize cultural references such as the Batik Sarung motif and recontextualize them into contemporary jewellery forms. The study highlights the intersection of design education, cultural heritage, and visual communication, offering insight into the pedagogical strategies that support creative development in Malaysia’s future jewellery designers.

RESULTS AND DISCUSSION

The following section presents the results of an analysis of student work from the Jewellery Design Fabrication Project (JMD246) at the College of Creative Arts, UiTM Kelantan. Students created bracelet designs inspired by batik sarong motifs using both manual and computer-aided design (CAD) techniques. The findings are divided into two parts: manual rendering (Phase 3 of the design process) and 3D modelling using SolidWorks. These outputs are evaluated based on design criteria, focusing on creativity, technical ability, and cultural expression.

Manual Rendering Outcomes

After completing the stages of research, conceptual development, and design ideation, with ongoing guidance from lecturers, students proceeded to produce a manual rendering of their bracelet designs. (refer to Table 3). The primary aim of this task was to enable students to visually translate batik sarong motifs into contemporary jewellery forms while applying the core principles of design.

Table 3. Show the final design drawing produced through manual rendering techniques

The analysis revealed that all students were able to successfully identify and reinterpret the core visual characteristics of batik sarong motifs, including floral, geometric, and organic elements, and incorporate them into bracelet compositions. Their renderings demonstrated a clear understanding of composition, balance, and cultural storytelling. In line with design evaluation criteria proposed by Anuar, Daud, & Ibrahim (2021), each design was assessed for:

• Visual appearance
• Form and function
• Aesthetic value
• Variety of design and colour options
• Telesis (purposeful integration)
• Innovation
• Lifespan (durability and relevance over time)

The results indicate that all student designs fulfilled at least three core criteria. Firstly, innovation through the novel application of traditional batik elements in a new medium. This reflects the students’ ability to translate heritage-based visual elements into novel design contexts. Secondly, telesis, where the designs reflected meaningful cultural integration. In this context, the students’ works not only showcased aesthetic appeal but also reflected an intentional connection to Malay cultural heritage, symbolizing a bridge between tradition and modern expression. Thirdly, in terms of visual appearance, the designs displayed a high level of aesthetic consideration, with well-balanced compositions, harmonious motif arrangements, and structural coherence in the bracelet forms. The overall presentation suggests a developing proficiency among the students in uniting conceptual clarity with cultural sensitivity in their design work.

The reworking of traditional motifs had a significant impact on students sense of cultural identification and creative confidence. Students displayed a closer personal connection to their cultural roots by actively engaging with historical symbols, which led to increased confidence and authenticity in their creative selections. This introspective process boosted both their aesthetic judgements and their cultural literacy as future designers.

3D Digital Modelling Using SolidWorks

In the second part of the course, students progressed to creating digital 3D models of their bracelet designs using SolidWorks, a professional CAD software used in jewellery prototyping (see Table 4). This phase emphasized technical skills, structural feasibility, and visual accuracy. Unlike manual rendering, 3D modelling enabled students to manipulate and view their designs from multiple perspectives, allowing for comprehensive evaluation in terms of geometry, structure, and realism.

Table 4 show the final 3D bracelet design, developed through virtual prototyping using SolidWorks CAD software

Each student successfully translated their initial manual rendering into a high-resolution 3D digital model that retained the original design intent. The application of SolidWorks enabled precise control over several design elements, including:

• Resolution and detailing
• Lighting and shadow casting
• Surface texture and material simulation
• Realistic rendering of form and proportion
• Dimensional accuracy and symmetry

Overall, the use of SolidWorks introduced students to industry-standard practices in digital prototyping. By mastering this software, students gained practical experience in visualizing, evaluating, and refining designs with precision. The CAD renderings exhibit a high level of technical and visual competency across all student submissions. The successful integration of intricate batik sarong motifs with advanced digital rendering techniques illustrates the students’ ability to merge cultural heritage with contemporary design tools. Each model reflects a thoughtful engagement with surface detailing, material simulation, and spatial composition, revealing both aesthetic sensitivity and a growing mastery of 3D modelling software.

CONCLUSION

This study explored how undergraduate students from the College of Creative Arts, Universiti Teknologi MARA (UiTM), Kelantan, transformed traditional batik sarong motifs into modern bracelet designs. Focusing on Phase 3 of the jewellery design process: rendering, the research used content analysis to assess how well students combined cultural heritage with creative innovation.

The findings revealed that students were able to effectively identify, analyze, and translate batik sarong motifs into jewellery concepts that are visually compelling and culturally meaningful. Their designs demonstrated clear engagement with traditional visual language while exploring modern forms, techniques, and media. The incorporation of design criteria such as visual appearance, function, aesthetics, colour variation, telesis, innovation, and lifespan further affirmed their developing capabilities in design thinking and creative application.

The integration of CAD software, particularly SolidWorks, into the design process was successful in enhancing technical precision and visualization. Students demonstrated an ability to render complex designs, evaluate structural integrity, and simulate material application. All of which are essential skills in modern jewellery production. The use of technology complemented the traditional inspiration, illustrating how heritage and innovation can coexist in a single creative output.

Overall, the study underscores the importance of design education in preserving and reimagining cultural identity. By embedding traditional Malaysian elements like batik sarong into contemporary jewellery education, students are not only trained in skill but also in cultural sensitivity and design responsibility.

RECOMMENDATIONS

Based on the findings of this study, several recommendations are proposed for future educational practice, research, and curriculum development in jewellery design. Educational and curriculum recommendations include expanding the use of technology by strengthening CAD literacy through the incorporation of multiple digital prototyping tools beyond SolidWorks, such as Rhino, Blender, or Fusion 360, to broaden students’ exposure to various industry software. For research recommendations, future studies could broaden their scope to include other traditional Malaysian crafts such as songket and woodcarving, in order to examine how diverse cultural motifs perform when adapted into contemporary wearable forms. This expanded exploration would not only enrich the design vocabulary of students but also strengthen the cultural relevance of their work. Furthermore, research should explore the commercial viability and consumer reception of these student-designed jewellery pieces, thereby establishing a critical connection between academic output and real-world market application.

To deepen the interpretive dimension of future studies, it is also recommended to embed theoretical perspectives from design theory or cultural semiotics. This would enhance the analytical depth of motif reinterpretation, allowing for a more critical understanding of symbolic transformation in the context of contemporary jewellery design. Finally, in terms of institutional support, it is recommended to showcase student work by organizing exhibitions or digital showcases of student designs to foster public appreciation of student talent and Malaysian heritage-inspired jewellery.

ACKNOWLEDGMENT

We would like to express our sincere appreciation to the Faculty of Art & Design, Universiti Teknologi MARA (UiTM), Kelantan Branch, for their generous support and provision of research data, which played a crucial role in the development of this study. We are especially grateful to the dedicated students who contributed to this project, whether directly through their active involvement or indirectly through their insights and creative input. Their participation and enthusiasm have significantly enriched the quality and depth of this study.

Funding

This research is not funded by any organization, it is individual expenses.

Author Contributions

Both authors played equal roles in the production of this paper.

Conflict Of Interest

There are no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.

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