November 19, 2018

London Baby

With this recent visit to London, I noticed how my interests are interwoven with everything I do and how I am so much more aware of our history, and how it is interwoven with everything!
We had the great pleasure of spending some quality time with my lovely niece and artist Surya de Wit and her fiancé. Thanks for having us!
Of course I thought I planned nothing, but I fully planned everything, so our program was filled to the max, hehehe!
It was a wonderful visit and can't wait to go there again! Till next time London!

Day 1

In the Underground

Our first full day, after arriving the evening before, started with a visit to the Alfies Antique Market. If you haven't been, it is a real treat for the eyes {and great pie btw}! I finally got the chance to meet Duncan Clarke and see his wonderful collection of Adire African Textiles.
We wondered through the rooms, looking at all the blingbling, fabrics and vintage, and seeing the tiniest cutest dog in the world, after continuing our day at the British Museum.

Blingbling at Alfies Antique Market

Adire African Textiles at Alfies Antique Market

Museum Street across the British Museum

British Museum is big, busy and filled with so much high quality things. We chose to see the Mummies, Textiles & pretty things from Japan. Maybe an odd choice or just the perfect combination, who can tell? However, you can not stop wondering how these things ended up here and how this amount of things present a peculiar history... They don't go much into detail in the museum, and maybe understandably so. Similar like the Rijksmuseum; playing it safe or just presenting the bare minimum {The BBC series 'Civilisations' gives some amazing insights on this collection}.
In the African part of the museum there was a lot of room for textiles, rows and rows of them. And I loved there was so much on Kanga's! Next to a big display, a video was playing explaining how Kanga's travelled from India, to East Africa, to Spain, and other European countries. I know only a little about the history of Kanga, but it seems like an intertwined one, just as the history of Wax Prints, I would love to learn more about it in the near future.
Highlight of the day for me were definitely the three Batiks in the small display about Australia. After learning about the Batiks by Emily Kame Kngwarreye and her Utopia Batik group, I am fascinated by it. These Batiks are from another group of Aboriginal women at the Ernabella Arts in Pukatja in South Australia. I love how they use the Javanese Batik technique to create their own unique style in motifs and colours! Would love to make a journey to Batik down under!

Batiks from Australia on display at The British Museum

Kanga's from East Africa on display at the British Museum

After the British Museum, we went to Liberty. After finding a small sampler-booklet of 'Liberty & CO, East India House' in the travel-journal of a cotton-printers son from 1884, I just needed to learn more about it.
Liberty is kinda the "Oilily of England". Only one big difference; Oilily got their inspiration from Dutch traditional wear and therefor from Indian Chintz, in 1963. Liberty was actually selling Chintz and imitations of Chintz from 1875!!!

Arthur Lasenby Liberty was born in Chesham, Buckinghamshire, in 1843. He was employed by Messrs Farmer and Rogers in Regent Street in 1862, the year of the International Exhibition. By 1874, inspired by his 10 years of service, he decided to start a business of his own, which he did the next year.
With a £2,000 loan from his future father-in-law, he accepted the lease of half a shop at 218a Regent Street with three staff members.

The shop opened during 1875 selling ornaments, fabric and objets d'art from Japan and the East. Within eighteen months, he had repaid the loan and acquired the second half of 218 Regent Street. As the business grew, neighbouring properties were bought and added.[2]

In 1884, he introduced the costume department, directed by Edward William Godwin (1833–86), a distinguished architect and a founding member of the Costume Society. He and Arthur Liberty created in-house apparel to challenge the fashions of Paris.

In 1885, 142–144 Regent Street was acquired and housed the ever-increasing demand for carpets and furniture. The basement was named the Eastern Bazaar, and it was the vending place for what was described as "decorative furnishing objects". He named the property Chesham House, after the place in which he grew up. The store became the most fashionable place to shop in London, and Liberty fabrics were used for both clothing and furnishings. Some of its clientele were exotic,[clarification needed] and included famous Pre-Raphaelite artists.

In November 1885, Liberty brought forty-two villagers from India to stage a living village of Indian artisans. Liberty's specialised in Oriental goods, in particular imported Indian silks, and the aim of the display was to generate both publicity and sales for the store.

During the 1890s, Liberty built strong relationships with many English designers. Many of these designers, including Archibald Knox, practised the artistic styles known as Arts and Crafts and Art Nouveau, and Liberty helped develop Art Nouveau through his encouragement of such designers. The company became associated with this new style, to the extent that in Italy, Art Nouveau became known as the Stile Liberty, after the London shop.
- Wikipedia on 19th November 2018

The Department store of Liberty is still very much there, in the center of London. It is an amazingly weird building with Timber framing. Inside are impressive wooden ornaments, glazed tiles, paintings on the ceilings and piles of textiles. It was for me so interesting to see, this relic of Colonial times, very much alive and well in downtown London. At the same time, how many shoppers actually know about this history? 

Liberty Department Store

Liberty fabrics inside of the Liberty Department Store 

Above the entrance of the Liberty Department Store

Inside the Liberty Department Store

Inside the Liberty Department Store

Last stop for the first day, was the Open Studio at the V&A of the new artist in residence, Bridget Harvey! It was so great to actually be able to visit her and get an introduction on her amazing project. She will be looking at the V&A collection from a 'mending-point-of-view' and create new work from that the next upcoming 8 months. How lucky she is, and how deserved! Looking forward seeing what she makes, creates and repairs!

Introduction on Bridget Harvey's residency at the V&A

Day 2

The Second Day was all about the exhibition 'Frida Kahlo: Making Herself Up' at the V&A. I am preparing a post about it for Modemuze, so more on that in the near future!
It was so good and I was so happy I could see it! I felt so lucky and so close to her. They made it so well, great job!
After the exhibition we were all so filled up with emotions and images, we just eat and sit and talked. We continued a little later and enjoyed the V&A some more. I believe you can go 3 days to the V&A and don't get bored. Or at least thats how I feel about it. I wish I could go there more often!

Lunchroom at the V&A designed by Arts and Crafts movement leader William Morris (1834-1896)

Indian textiles at the V&A

Day 3

The last full day was a mixture of muscle ache of dancing the whole night before and enjoying some more Art. We made a quick visit to Surya's Studio while enjoying the lovely Walthamstow neighbourhood. What a pretty part of London, no wonder William Morris got so much inspiration from it and how great that Surya's lives there!
Of course we needed to go to the William Morris Gallery also. This time it was the dot on the i. It is so interesting to see how William Morris is in the middle of this interwoven history and he was definitly in the center of this trip. He designed for Liberty & Co, he designed parts of the V&A interior, his was fascinated by Indian and Japanese Textiles and Art, by Medieval Tapestries and he loved Crafts. It was so great to spend the Sunday at this wonderful place, his Childhood home!

Shop with Wax Prints

Surya's work at her studio

William Morris Gallery

Waterlilies by Monet at the William Morris Gallery

At the William Morris Gallery

Detail of textile design by William Morris
at the William Morris Gallery

Sketch for a wall paper design
at the William Morris Gallery

Detail of textile design by William Morris
at the William Morris Gallery

Garden of the William Morris Gallery

November 5, 2018

Weaving + Shape Shifting x Books / Busy

= Dutch Design Week 2018

On the market during DDW 2018

"If not us, then who?" Good question! At Strijp-S

Recycled textile by Enschede Textielstad at DDW 2018

Lisa Konno set-up in the Veemgebouw at DDW 2018

First thing I noticed, How Busy It Was! It was Tuesday and Strijp-S was covered with a crowd. Good that Dutch Design got such a big audience interested, but it makes it hard to see more then two or three locations. And with so many many locations participating now, you need to see more locations in order to discover the true cherries of that year. So I totally felt I was missing out!
I didn't had that much time and no time to go a second day, so I decided to go to the locations I liked best last year {see previous post with the label 'Dutch Design Week'}.
I think nowadays you need at least 2 days and enough time to check online which things actually make it to peoples online feeds.
So this years review is just a little peak of this years DDW!

I started at Strijp-S were I got my press-card and a really fun, but heavy goodie-bag!
I made my way through the tinyhouses and bright yellow NS pop-up station towards the Veemgebouw. I went in the 'skatepark' which was as far as I could remember participating the first time, or I never really went in before. From the description online, I marked it as a must-see, but inside the recycled textile-installation was just a garland going through the building...
In the Veemgebouw things got much better. It was less impressive this year, because I really missed the carwash experience while entering the parking-lot, but still I enjoyed what I saw inside.
One highlight definitely was The Swedish School of Textiles. They  had a simple yet affective set-up of experiments by their students. Which were both fun and full of potential. I talked with them briefly and they told me this was their first time here and would definitely participate in future DDW's, can't wait!
Another highlight was again the Craft Council Nederland 'How & Wow Studio'. There were the cutest baby looms I ever saw, Bas Kosters lifejacket robot bags and other pretty handmade stuff gathered in a colourful setting, what's not to like!

Presentation  The Swedish School of Textiles at the Veemgebouw at DDW 2018

Baby loom and handy-crafters 
at the Craft Council 'How & Wow Studio', 
in the background Bas Kosters robotbag, 
at the Veemgebouw at DDW 2018

Part of the Craft Council 'How & Wow Studio'
at the Veemgebouw at DDW 2018

At Bijenkorf during DDW 2018


After the Veemgebouw I headed towards the City Center of Eindhoven. In the Bijenkorf an artist-in-residence had took place in the roof-top-room, so I popped in to see. I think the Artist had fun making the dripping paintings, but what it had to do with design was beyond me. However, it made a pretty image for a pretty picture.
In the old V&D they hosted again the Modebelofte. Inside of a mixture of a snow-globe and Barbapapa's home, the exhibition was held.  The theme was 'Shape Shifters', so clothing was shown that would transform you, even create a new species by wearing them. Next to the clothing, little projections on the walls showed how the outfits would move. 
It was such a weird realisation not liking the “static” cloths, but liking how they moved. I realised how we often buy our clothing of the “rack” or of a mannequin or picture online and not really buy it on how it moves. Yes, we let 2D models show fashion on a runway, but they move mostly more like ‘clothing-hangers’ if we are being honest {happily this is getting less and less}.
Interesting that by presenting clothing that shape shifts, you actually appreciate the power of clothing and how they can change the way they make you feel, walk or move. How the transformation can and should be part of the fun of wearing clothing!

Modebelofte DDW 2018

Weaving & Books

They have been trying for years now, but I think weaving is really back! I spotted baby looms, weaving with alternative & recycled threads and many books on woven textiles. Next to weaving, the “Artist Book” or maybe better “Artistic Looking Books” are back. They were never really gone, but it was remarkable how many presentations included a {handgeschept} handmade paper book with rough edges, grey-tones pictures & essays in interesting looking typography.

What were your DDW 2018 highlights? And what trends did you notice? Please feel free to comment below! And looking forward to DDW 2019!

'150 Wooden shoes' by Max Stalter at the Veemgebouw at DDW 2018

Book 'Weaving as Metaphor' by Sheila Hicks spotted during DDW 2018

On Strijp-S during DDW 2018

October 8, 2018

The journey to Batik - Research Process

How did the story go of Batik Entrepreneur Carolina Josephina von Franquemont? These passed 21 months I found and discovered a lot, and I am working on the next step, a third journey to Batik. In this Time lapse I recreated my research process. With a voice-over in Dutch, I explain why I started this research and where I am now. With subtitles you can read my explanation in Dutch & English. Below you'll find a time-line for every time I show something in the frame; a book, article or textile

0:30 Daan van Dartels article ‘Koloniale mode: wederzijdse invloeden in Indo-Europese batik’ on Modemuze 

0:33 Book ‘Batik Belanda’ by Harmen Veldhuisen  

0:34 Book ‘Fabric of Enchantment, Batik from the North Coast of Java’ 

0:36 My article ‘Verzwolgen en verdwenen: de batik erfenis van Franquemont’ on Modemuze in May 2017, English 'What happened to Von Franquemont'  

0:44 Pagi-sore, Day and Night, Batik design by me, made in Desa Jeruk in 2011 

1:12 Article ‘Batik ‘Tiga Negeri’ & de Java Print ‘Good Living’ on Modemuze, in English 'Good Life II'

1:14 Book ‘Javanese Batik to the world’ by Maria Wronska-Friend 

1:16 Souvenir-cloth (‘Herinneringsdoek’) to celebrate Keti Koti with Javanese Kraton ‘Princely Lands’ style (‘Vorstenlanden’) Batik motifs  

01:17 My film ‘The journey to Batik - Tari Batik’ premiered in September 2017  

1:51 Magazine Aziatisch Kunst of Asian Art Society (‘Vereniging van Vrienden der Aziatische Kunst’), Jaargang 47, Nr. 3, November 2017  

1:52 Book ‘Indonesian Textiles’ by Itie van Hout, Collection Tropenmuseum 

1:54 Book ‘Batik & Ikat aus Indonesien’ by B. Forman  

1:56 Community Dressing Episode 3 ‘Bunschoten-Spakenburg’ with a contribution by me  

2:26 Book ‘Collectors Collected’ by Daan van Dartel  

2:27 Book ‘Technische innovaties in de katoendrukkerij en -ververij in Nederland 1835-1920’ by G.P.J. Verbong  

2:28 Book ‘Feministische Openbaarheid, De Nationale Tentoonstelling van Vrouwenarbeid in 1898’ by Maria Grever and Berteke Waaldijk  

2:29 Magazine Métier with an article on my work and research, edition 3, September 2018

October 1, 2018

What Batik Statement are you making?

Wearing Batik-mask (loan from Sandra Niessen), 
jacket made from Batik Cirebon by Kamaratih Batik 
& Batik legging by Baobab Batik from Swaziland

Today we celebrate the ninth year that Batik is the official UNESCO Intangible Cultural Heritage of Indonesia. Since 2 October 2009 every year it is Hari Batik, Batik Day, today and since 6 years I have the tradition to share a series of Batik Statements on this day. {I posted this at 19 p.m. European Time, so in Indonesia its 12 a.m.}
The first series was in 2012 and it was dedicated to the fact that Batik wasn't considered to be a fashionable thing. I thought Batik should & could be worn like that. Only 6 years later and I am exclusively wearing outfits made from Batik for this years series. Batik truly became the fashion item it should be!

This year I would like to explain what statements you can make with Batik. 
The fabric itself tells a story through its motif. So for choosing the right Batik to wear it is nice to know what the patterns mean. You can find some populair motifs explained in my Batik Statements series Pattern Edition.
I wear a lot of 'Batik Modern', Batik with a less traditional motif or in a different colour combination, so I can make my own statement with it. It is also handy to wear 'Batik Modern' to avoid mis-interpreting the meaning and rocking an inappropriate pattern to the wrong party. 
But making statements with Batik is not only done by the fabric itself, it is also done by how you wear it, or in what form. 
In these statements I am wearing three custom-made pieces; a jacket, dress and skirt. The fun thing about custom-made is that you can choose your Batik and make it fit perfectly. Since my second 'Journey to Batik', I have added 6 custom-made pieces to my wardrobe and a seventh is in the making. It is the perfect way for me to wear what I love and show off how it can be worn in a fashionable, colourful, fun and stylish way. So You can also make a custom-made statement with your Batik!
The last statement I would like to make, is the sustainable one. Batik is a handmade textile, either hand drawn with canting or brush or hand stamped with cap or block printing. This doesn't automatically make it a sustainable produced product, but it is a unique, high quality handmade textile. Different batik makers have different methods, so finding out which ones are fair, green, eco etcetera is a puzzle. But Batik it is always a better choice then a machine made fast fashion product. To find out more about 'Is Batik Fair?' please read the blogpost I wrote about it. 

Thinking about making this years Batik Statements, I thought of the graffiti I spot regularly during my walks in Utrecht (NL). The pieces change rapidly, covering one another to make their mark, to make their statement. With a name, a symbol, or tag, readable and not so much, walls are filled. I love walking past these temporary outside exhibitions and thought they make a nice photo-shoot setting. So I am sharing with this years Batik Day Celebration how we can make statements in different ways and I hope you share yours with me!

On Instagram & Facebook please use the hashtag #batikstatement and don't forgot to tag me! Or send by email to sabine{@} Please share why you choose this Batik and what statement you would like to make!

Wearing dress made with Batik Lasem, designed with TheAria Batik 
{I am the reseller in the Netherlands} 
and Baobab Batik leggings 

Wearing reversible skirt by Guave
made with Batik Cap on one side, 
and recycled & organic textile from Enschede on the other side

June 23, 2018

Ecological, Sustainable & Colonial Footprint

Huge mens blouse made of discarded mens blouses, apparently one of the most discarded items of clothing, by Marlene Haase at Fashion Colloquium, 2018

'Tower of Babel' by Kasper Jongejan at FashionClash

For those who follow me on other Social Media, know I'm researching a lot at the moment. In the form of actual archival research, going through page after page of handwritten documents. Research in the form of going to lectures, symposium and events. About textiles, Indonesian culture, Colonial history and Fashion. From the outside maybe it doesn't look that connected, but to my surprise, the more I see the more connections I can make.

I think about and try to maintain a sustainable lifestyle. I make temporary artworks. I try to shop as much plastic free and organic as possible. I eat no meat, travel by train and try to buy less or secondhand stuff. I try to look at my wardrobe in this same way. I've never been a Fashion victim and always loved buying secondhand 'vintage'. Yet thinking about ones Ecological or Sustainable footprint should include what you wear. During my last visits to Java I had some clothing custom-made out of Batik Tulis. I wear these items so much that I need new "professional outfits". So I asked Guave to make wonderful Slow Fashion pieces for me. Their Summer collection was launched recently and it's such a wonderful combination of Batik Cap from Java (Indonesia) with woven textiles from Enschede (NL)! I asked them to document 'the making of', so that will be on my blog later!

In Fashion the subject Sustainability is now a very populair, almost trend-like, theme. For collections, exhibitions, symposiums and pop-up shops. And many of the Fashion things I've been to, had that same theme going on.
For example The Fashion Colloquium, a two day symposium Searching for the New Luxury; explored new definitions of ‘luxury’ against the backdrop of urgent environmental and social issues. Fashion is in dire need of more value-based critical thinking as well as design-driven research to thoroughly explore, disrupt, redefine and transform the system. I only attended on Thursday 31st of May, but was really inspired by it.
Orsola de Castro of Fashion Revolution shared their growing reach, yet spoke the strong words that kept ringing in my ears “The noise can be louder”. We must be louder, we need to change now or "ASAP; As Sustainable As Possible" as Oskar Metsavaht of the ASAP brand puts it. Pascale Gatzen, the new head of the Fashion Design Master’s programme at ArtEZ, talked about changing the way we talk & think, making our vocabulary fitting with a less growth-minded, negative system in order to create positive change within the Fashion industry.

Opening of the Fashion Colloquium with 'The new Luxury' Manifesto

'Repairing our clothing is a revolutionary act' 
Orsola de Castro of Fashion Revolution during the Fashion Colloquium 

Last week I went to FashionClash in Maastricht. I wrote an article for them fitting with this years theme 'Fashion my religion'. It was already their tenth edition and don't know how I missed it till now. It is the perfect combination of enjoying the city, seeing shops you normally wouldn't find that easy and getting showered with Fashion & Art. My favourite work was by Kasper Jongejan. His version of the 'Tower of Babel' consisted of a pile of discarded textiles from a sorting company with on top a collection of clothing made from rejected fabrics. The hearts on it were to remind us we still “like” new things better then taking responsibility for the mess we make. Another strong advocate that we have to stop with Fast Fashion and go for more sustainable choices.

This week I spent some days researching at the University Leiden. In their wonderful Special Collections library I'm going through texts written and collected by G.P. Rouffaer (1860-1928). He was one of the first Dutch Batik experts and wrote a big book 'De Batik-kunst' that got published in 1914.
I was going through handwritten documents about imitation-batiks, Batik Cap and other printed cotton on the Dutch East Indies market around 1870. The text was about how low the quality was of the imitation-batiks compared to what was already on the market. Not only compared to the much more detailed handwritten Batik Tulis, but even compared with the fast growing Batik Cap, Wax stamped printed cottons, on the Javense market. It went on about how much printed textiles were being sold, huge quantities of thousands and thousands of pieces. And even though the quality of the imitation-batiks was questioned, still the main reason for this correspondence was the money they thought they could be making by importing more of these cheaper, imitations to Indonesia.
So reading this, I was thinking about all the things I have been to these last few months. During the Fashion events, the discussion on Fast Fashion, but also on Cultural appropriation. But also the talks, meetings and events about our Colonial past I have been attending these last few months. Here the questions are raised, how do we teach people about Colonial history and how do we deal with postcolonial realities; a world shaped by this past?
The event at the Museum Volkenkunde about our 'peppered past' was about how people with connections to the Dutch East Indies have different stories to tell then other groups that are seen as 'foreigners' here, yet they still face the same negative hurdles. Another returning subject is how we show objects from this past in an appropriate, correct, full story-telling way in which all parties feel comfortable and respected. Subjects which are very interesting to think about and to hear more of, but are not heard by the group who needs to change the most...

Two weeks ago I got interviewed for the film Wax Print: 1 Fabric, 4 Continents, 200 Years of History. The film is about the role that ‘Ankara’ - a vibrant cotton fabric print typically associated with Africa - plays in the world economy and the fashion industry today.  The film will be premiere next week, more screening dates coming up so check their website regularly.
I shared my thoughts on Batik, imitation-Batik and of course Wax Print. Me and director Aiwan Obinyan talked about so much more when she was here. It made me realise how much work still needs to be done before the subjects mentioned above are not just subjects, but actually things we work on, with and passed.

I started realising that all is connected. Our Fast Fashion problems and ignoring Colonial History. From how the system of Fast Fashion has its start in our Colonial past, the products used to make the actual clothing, the demand and the claim. The trade routes on which products and people, willingly and unwillingly, were moved on across the world for centuries. Money was made and people were being exploited. It seems it doesn't differ so much from what is happing today in Fashion and other industries.
We can't keep on pretending the past didn't happen and keep ignoring what is happing now. We can learn from our past.
I think next to working on my Ecological and Sustainable footprint, I need to work on my Colonial footprint; What is it, what is made of, and what does it mean for me and others?
History repeats itself and so forth, but lets just break the cycle!

To follow in my footsteps ;), check out these {upcoming} events:

Till 24 June We Make M-ODE in Amsterdam

Till 22 July you can visit 'State of Fashion: Searching for the new luxury'

Till 2 September ModeMuze@OBA: Innovation

May 28, 2018

Wastra Weekend, First Edition Recap

First photo in the Batik Statement Photo Booth with 
Lara of Laras Bags, Sabine (me), Romée & Myrthe of Guave, 
Marlisa of Taman Indonesia and right Gandamira. 
For all Wastra Weekend-Batik Statements click here

On 24 & 25 February 2018 me & Marlisa Wareman organised our first Wastra Weekend. We were already talking and thinking many years about how we could share our love for Indonesian textiles, and Batik in particular. When last year the tropical greenhouse opened at Animal park Taman Indonesia, of which Marlisa is the owner, the perfect place was created to organise an event all about Indonesian textiles, no matter what the weather would be like. 

Me & Marlisa with the Batik I selected from her 
during my second journey to Batik in 2016

For our first Wastra Weekend we choose the not so busy February month. This edition we made a little cinema to show my short film 'The journey to Batik- Tari Batik' with 3 other textile-films; the documentary 'Batik, our love story' from 2012 by Nia Dinata, 'Rangsa Ni Tonun' about Batak textiles by Sandra Niessen & MJA Nashir and 'Ingkerr anyent-antey' about Utopia Batik from Australia. In the greenhouse we made 3 exhibitions, one of my Batik collection, one of Marlisa's collection of Mentawai & Papua accessories and one of clothing from almost every Indonesian Island. 

The exhibition of my Batiks started with this one by Ibu Maryati 
which has also an leading role in my film

Mentawai and Papua Bags 

View from upstairs 

My Pagi-Sore Batik next to the rice in the greenhouse

Batik with 'Ghosts & Coffee' design by Mak Si'Um from Batang

Overview of my collection

On every Batik piece were photos of the makers and the creation process, 
on this Batik the actual canting and dying of this cloth

It was amazing to use the tropical greenhouse as an exhibition space and to finally show off the beautiful Batiks I have been collecting since 2009. I also, for the first time, showed the Pagi-sore Batik made after my design. 
During the weekend I gave tours through the exhibition sharing more about the Batiks on display; where they were from, who made them and some interesting details about them. It was also wonderful that my film was being shown throughout the day, so people could see most of the actual makers of the Batiks and the their Batiks on the same day!

Guided tour through my collection by me

Wastra Consultation Table 
for questions on your own brought textiles or to learn more about Batik

Next to the tours, I had a Wastra Consultation Table ("Wastra Spreekuur") were people could come with their own textiles for more information, browse through books, learn about natural dyes and other materials used to make Batiks and of course ask questions. Five people actually brought some textiles with them, Ikat & Batiks, and I got many questions. It was fun to have this spot, because people also came to me with questions on the films they just saw or after the tour I had given. 
My Wastra Consultation was in the other part of the greenhouse which we named the Batik square ("Batikplein") for this weekend. On the Batik square we made a Pasar, market, were people could shop all kind of amazing items made from Indonesian textiles. We had a stall by Lara with her Laras Bags made from Ikat from Flores and Batik from Java, Guave with their sustainable brand using also Batik from Java. Gandamira sold all kinds of batik-things on Saturday and Made by Ayo shared her natural dye Batik bags & clutches on Sunday. From all of them you can still get some items at the toko of Taman Indonesia!

Laras Bags



We had such fun and a great turn-out! 
Thanks for everyone who came to this first edition 
and hope to see you back again at our second edition!

Our Second Wastra Weekend will be held on 23 & 24 February 2019 at Animal park Taman Indonesia, Kallenkote, so hope to see you there!

For more on the first edition:

See the Batik Statements visitors made in this Facebook album

Read Lara's review on (in Dutch)