INTRODUCTION

Humans are born with natural beauty. Yet it is in their innate nature to enhance
their looks and to accentuate nature’s gift with assorted accessories. Personal
adornments have been worn by humankind right from a young age and
especially by female children.

History records that personal accessories have been worn by people since the
early civilisations. The Orang Asli in Peninsular Malaysia have made dramatic
changes to their appearance from primitive clothing which cover just their private
parts to the more modern apparel of today.

Primitive communities have applied their artistic skills to engrave and paint their
bodies in a bid to beautify themselves. Designs usually take on the flora and
fauna motifs and these were imprinted on their bodies as tatoos. The body art of
today can be traced to the beliefs and cultural traits of a particular race. With the
passing of time, exquisite costume jewellery and personal accessories have
replaced the old arts in accentuating personal beauty .

CAPING
The heart-shaped ‘modesty piece’, known in the Malay language as caping or
cawat, measures about 6 cm x 7cm and is made to cover the modesty of both
male and female infants aged about 9 months. In the previous century, it was
worn as part of children’s attire, especially by young girls in the northern and east
coast states of Peninsular Malaysia, and in Sabah and Sarawak. The caping is
not so widely used in the other states of Malaysia.

The cawat is custom-made using various materials depending on the status of

the wearer. For the royalty and aristocrats, selected silversmiths would be
assigned to craft fine cawat intricately carved in gold.

The manner of wearing the cawat differs according to the family’s status in
society. A different protocol is applied for the royalty, especially in choosing the
strings with which to tie the caping at the waist. These strings would be of one or
two colours from a range of white, yellow, red, green and purple. Yellow and
purple were reserved for the royalty while the rest of the people could choose
white, red or green though yellow was forbidden. The non-Malays often preferred
the strings in black, a practice influenced by the Indians who believed that the
colour would protect the wearer from any ill luck or misfortune.

HEADGEAR
According to Malay annals, the headgear has been worn since the beginning of
the Melaka Sultanate. Wearing the Malay attire without the headgear at official
functions in the presence of heads of districts/states is considered improper.
However, the type of headgear to be worn is not specified.

Folklore and reliable old records note that, supposedly, even in the days of glory
of the Melaka Sultanate, the common people, irrespective of race or religion,
were required to wear full traditional attire to be in the presence of the sultan. An
individual was, therefore, considered improperly dressed if he/she did not have
headgear or did not tie up his/her long hair with a piece of cloth, a string made
from the bark of a tree or a one-inch wide goat skin before presenting
himself/herself to the sultan.

TYPES OF HEADGEAR

DESTAR
The destar is a type of headgear, also known as the bulang hulu, tengkolok,
setangna kepala or tanjak. The different names are derived from the respective
localities. In Perak, the destar is better known as the tengkolok, in Selangor it is
the setanjak while the bulang hulu is the exclusive headgear of the royalty; the
puntal bersering, ikat kepala or semutar is common among the fishermen in
Kelantan and Terengganu.

The Minangkabau community call it the destar while the descendents of the
Bugis know this headgear as the tengkolok or setanjak.
TENGKOLOK
The tengkolok was first made during the Melaka Sultanate, as recorded in the
Malay annals.

Its design depended on the creativity of the old Malay society. A square-shaped
piece of cloth is required to craft a tengkolok. Today, the tengkolok is often used
by the groom at his wedding. On the wedding dais, the bridal couple, considered
as royalty for the day, is dressed in full attire just like the king and queen on the
throne. The tengkolok worn by the grooms of today is usually enhanced with
jewellery.

The tengkolok worn by His Majesty the first Yang di-Pertuan Agong on 31 August
1957 was dubbed as “DENDAM TAK SUDAH” (UNRESOLVED VENGEANCE).

This tengkolok is decorated with a crescent and an 11-pointed star studded with
66 diamonds and decorated with the colourful crest of the Malaysian
government.

SETANJAK BALUNG RAJA

This headgear made of yellow songket is part of the official attire of His Highness
the Sultan of Selangor and is worn at the Selangor state royal functions such as
the coronation ceremony and the sultan’s birthday. The design of this headgear
was inspired by the Tengkolok Balung Ayam of Perak, following the marriage
between the Selangor and Perak royal households.

SETANJAK LANG PATAH SAYAP

This headgear is part of the official attire of the Panglima Diraja Selangor. The
pucuk sirih is placed on the right while the daun tajuk is on the left.

TENGKOLOK ALANG
This creation was once worn by the late Sultan Abdul Samad. According to
records, the sultan was very adept at tying the tengkolok himself.
JUSTAR DIRAJA
This headgear, made of gold, was worn by a Regent of Johor, the late Sultan
Ismail, at his wedding to Ungku Tun Aminah in 1920. The original shape of the
justar was adapted from Riau. This creation was named ‘Singa Menoleh’. The
justar was later made from cloth. This decorative headgear was worn in Johor
more than a century ago.

THE CROWN (MAHKOTA)

The crown is worn at the coronation of sultans only from the states of Johor,
Selangor and Kelantan.

KOPIAH
Keeping the head covered by the Muslim males is encouraged except when they
are performing the haj in Mecca. A manner of covering the head for the males is
by putting on the kopiah (skull cap). It is mentioned in the traditions of Prophet
Muhammad, which is, therefore, to be emulated by all Muslim males. It is also
the common practise to tie a scarf around the kopiah. As this was practised by
the Prophet, the manner of wearing the kopiah is widely worn in all Muslim
countries.

The wearing of the kopiah differs from that of other headgear such as the
songkok, bandanna and hat, in that they are encouraged but not the practice of
the Prophet.

SELENDANG
The selendang is usually narrower and lighter than the shawl (selendang
panjang). However, it is preferred for it is easy to wear. It is usually draped on
one shoulder or on both shoulders; sometimes covering the head and shoulders;
wound around the body or tied at the waist; or draped round the shoulders with
the ends hanging at the back, with one end tied to the hand and the other falling
free before the wearer, or in various other styles.
The selendang is usually made of tie-dyed silk and is also known as the kain
limar. It is sometimes edged with gold thread, made of songket or embroidered
with golden floral designs.

In Kelantan, the selendang is worn by womenfolk as the kain kemban (cloth

covering the upper body) which is part of the Cik Siti Wan Kembang costume.

It is also used during the lenggang perut ceremony when the woman is seven
months pregnant. The ceremony is held to wish for a safe delivery of the baby.

CUCUK SANGGUL
The cucuk sanggul (hairpin) is a personal decorative item among the Malays,
Indians and Straits Chinese as well as the Portuguese. It is an essential item in
hair fashion.

This traditional hairpin is used to keep in place the buns of Malay women. It is
usually made of gold or silver and worn in odd numbers of threes, fives or sevens
by brides and traditional dancers.

HAIR COMBS
This item is used for hair-grooming. In early times, the Orang Asli made combs
from tree branches to groom hair. Combs were also made from bamboo, bone,
ivory, horn and tortoiseshell.

With time, the hair comb has been used as a hair decorative item, fixed on the
bun to enhance its attractiveness. In the 18th century, shells and leather were
used in the making of the comb. To add to its beauty, gold or silver pieces have
been added to its motifs.

Among the Malay and Straits Chinese societies, hair combs would be fixed to the
buns diagonally.
TOOTH ACCESSORIES
Tooth accessories were very popular among the Malay, Indian and other
communities. This was done purely for aesthetic purposes. Gold, silver or brass
were the elements commonly used. Crowning could also be considered as tooth
art.

TOOTH CROWNING
Tooth crowning is administered after the tooth has been whetted with a fine
whetstone or a metal file. Crowning is usually done for the more prominent tooth
to give the individual a winning smile.

While some crown a tooth to hide a bad tooth, others do it to enhance its looks.

NECK ACCESSORIES

Since ancient times, mankind, especially women, have worn all kinds of neck
accessories. These can be categorised into three types: neck chain, the dokoh
and the kalung.

CHAIN
The neck chain can be divided into various types, single or multi strand in
different designs: of clouds or geometric patterns. The organic motifs are
currently the most popular for they represent elements of nature. The neck chain
which has an attractive design and is strung with diamonds would be among the
more expensive range.

DOKOH
The long chain or dokoh is the preferred choice of women of the east coast. It
has been popular among them for the past 200 years.
The dokoh falls as a single strand accentuated by designed pieces on the left
and right sides of the chain. At times, a talisman is also attached to the dokoh.

The sukun leaf motif is usually engraved onto the dokoh pieces through various
techniques. The popular technique is through the means of the pahat silat which
imprints nature motifs.

Some believe that the dokoh was introduced by the Indians to replace the bunga
malai (floral garland).

AGOK
The agok belongs to the dokoh family, the only difference being its shape. The
agok is made of a single big piece attached to a chain. Resin is poured into its
three-dimensional shape so that its fall is secure and stable.

KALUNG
The kalung is an elaborate chain that hangs down from the neck covering the
chest. It is also known as the kalung pengantin (bridal chain) or the kalung
pelerang depending on the dialects of the respective districts.

The cut-diamond pattern, known as the kida-kida, was once popular among the
people of Johor. This kalung is usually made in silver dipped in or dusted with
gold. However, the kalung worn by the royal couple are usually made of real
gold.

In modern times, kalung of various types and designs have been fashioned into
awards of merit representing each state in Malaysia. Today it has become
fashionable for award recipients to wear the kalung at official functions and
investiture ceremonies. In this way, we can be assured that the tradition of
wearing kalung will continue to be upheld.
EAR ACCESSORIES
Ear accessories are common among all races in Malaysia. In the Malay
language, it is known by various names such as sunting malar, anting-anting,
subang, gelinya and kerabu, each different from the other. To wear the dangling
earrings and the ear studs, one would have to first pierce the ear. In traditional
societies, an ear-piercing ceremony would be held when a female child is about
six years old.

SUNTING MALAR
The sunting malar is the long earrings that dangle from the ear lobes. It is made
from silver or gold pieces; and is curve-shaped with decorative petals at both
ends.

The sunting malar is usually worn by palace dancers from Thailand, who were
brought into the country by Pattani Malays, as well as Indian women. This ear
accessory is still popular today in Kelantan.

SUBANG
These ear studs are worn on pierced earlobes. Malay goldsmiths often craft the
flower motif for the ear studs which are either round or square. When worn, the
studs stay fixed to the earlobes.

ANTING-ANTING
The anting-anting (dangling ear-rings) is also known as gelinya depending on the
dialects of the respective districts or states. The anting-anting or gelinya droops
down while the ear studs stick to the earlobe.
BELT ACCESSORIES
In the olden days, man would use plant/tree roots, rattan and straw to fasten
loincloths, trousers and wraparounds. With civilisation, these have been
transformed into a variety of belts complete with buckles and hooks made of
gold, silver, gold alloy, leather and plastic.
BUCKLE
The decorative buckle (pending) is a Malay traditional item that is less popular
today. At one time, it was considered as an accessory and was made of metal,
steel, brass, silver or gold.

Records show that the decorative buckle was commonly used by aristocrats in
the 15th century. Cik Siti Wan Kembang, a lady of distinction from Kelantan, was
said to have worn a sash and the buckle (pending) to fasten her sarong. In those
days, the pending could be shaped like the human eye, round or square. Buckles
worn by the Malay rulers or higher officials were usually made from gold or gold
alloy though some others wore them in silver or black brass.

In the 19th and early 20th centuries the silver coin belt became fashionable. The
history of the buckle and its usage can be traced to the olden days when
plant/tree roots, rattan or straw was used to fasten the trousers or the sarong.
During the Melaka Sultanate, the bark of big trees was used.

The buckle, worn, at first, by Thai women, is believed to have been introduced to
the Malay peninsula by the Pattani Malays who had settled in the northern region
of the country. Besides the Malays, the Indian and the Straits Chinese
communities in Melaka had also popularised the item at one time. However, the
buckles belonging to these communities incorporated into their designs elements
of their belief systems.

The buckles made popular by the Indians and Chinese of Melaka display almost
similar designs except that each community modified the motifs to reflect its
religious beliefs and past symbols. The motifs differentiate between the Malays’
and non-Malays’ buckles. Buckles are also used by the Iban women of Sarawak
as part of their traditional formal attire. The design of these buckles and belts,
which are made of silver, is similar to those of the Chinese.
The royal buckle worn by His Highness Sultan Sharafuddin Idris Shah is made of
gold inlaid with diamonds. It is a significant complement of the royal ceremonial
attire and bears the finely engraved royal insignia of His Highness.

To date, gold buckles have not been found in Sarawak or Sabah. However,
modern buckles have been designed and worn by local traditional dancers to
enhance their costumes. In this way, the present generation can also be familiar
with the buckles which could also have been prized gift items of traditional
society.
HAND AND FEET ACCESSORIES

Decorative hand jewellery that graces the wrist includes the bracelet and bangle
while that which circles the arms is known as the pontoh or arm band/armlet. For
the attire to be complete, feet accessories in the form of anklets (gelang kaki) or
ankle bells (keroncong) are worn.

BANGLES

In the beginning, bangles were made of thick woven wires dipped or plated in
gold. Bangles made of plastic, no less pretty, were also found. Young people,
at whatever age and of whatever lineage, love wearing bangles and bracelets,
without which they may feel incomplete. Bangles of gold or silver are custom-
made for the rich, or at times gold coins may be strung to snugly fit individual
wrists.

In the Malay language, bangles are known by various names such as the gelang
belah rotan, gelang ular, gelang pintal (tali), rantai tangan (bracelet) and the
cekak tangan (wrist band). It is usually the Chinese or Indian jewellers who craft
the jewellery, applying their creativity to match it to the hands of their respective
clients.

Just like bangles, anklets are usually designed in pairs. Anklets are commonly
worn by Malay, Indian and Straits Chinese women. In Melaka, the bride in her
traditional costume on the dais would be considered incomplete without anklets.

RINGS

The ring is widely featured in the old annals which describe the Malays, both
males and females, as being decked with rings on their fingers.
Records document that the ring may have originated from the west or possibly
from India which could have introduced it to Melaka. Indian influence is dominant
in Melaka. Today, the fashion of wearing rings has spread, unnoticed, across the
country swiftly like rice husks on fire.

The ring has so inspired the Malays and the Chinese that they have introduced
local motifs while, at the same time, retaining the original designs. The more
common style is a gemstone mounted on a collet with a finely crafted shank that
complements the shape and colour of the gemstone. A ring reflects the level of
craftsmanship and culture within a society.

The collet is usually finely whetted to hold the gemstone securely in place. It
appears elegant, attractive and lustrous when set on the shank.

Some rings hold the gemstones in a cluster, decorated with a leaf motif forming
the claws.

BODY ACCESSORIES

TALISMAN
The talisman is often associated with a society’s animistic beliefs, be it among
the Malays, Chinese, Indians or the other ethnic groups. The talisman serves as
a protection against threats and man-made catastrophes.

Among the Malays, the talisman is of two types: with Quranic inscriptions or in
the form of objects such as bone, skin, wood, iron chip, solids and others. These
objects or Quranic inscriptions are put into a container or a case and tied at the
hips or round the arms. Some wear the talisman around the neck as a locket. A
well-designed talisman serves as a personal accessory besides being a shield
against evil intentions.

The talisman is put in a case that comes in various shapes depending on the
craftsman or the wearer. It is usually oval-shaped with two loops for the string or
multi-coloured threads picked by the village medicine man (bomoh) or medical
practitioner.
Initially, the case for the talisman was made of brass or silver but later, talismans
which were meant for aristocrats were put into gold cases.

SUSUK
The susuk is used to enhance one’s beauty, be it for men or women. At one time,
it was very popular among the Malay community. Then, only the rich could afford
it for it was very expensive.

There are two ways of using the susuk: in ancient times the susuk made of gold
dust was applied to the face; the susuk could also be two gold particles or needle
implanted into the cheeks, one on each side. The bomoh recites incantations as
he undertakes this process. At first, the bomoh fills up a glass container with
water and mixes it with ingredients such as kayu kelemboh, kasturi and bunga
melor. These are left to soak in the water for ten days. This practice is quite
common in Kelantan and Pattani. The prepared formula is known as “air bijan-
bijano” or “air sulung barat”. It can also be used to treat one who has been
inflicted by trauma (related to death).

The formula is then poured onto a ceramic plate and mixed with gold paste
(whetted gold) for 15 minutes until it dilutes. The paste is then applied to the
cheeks and the whole face and then left to dry. The individual then wears this
mask for a whole night. Those interested must not wash their face a day prior to
this process.

The susuk practitioner recites incantations before others are able to see the
individual’s face to ensure that the susuk works.

Another approach is by implanting two gold particles, the size of a fish roe, into
both cheeks. This has to be done on a night of the full moon. During the process,
the individual is not allowed to see himself/herself in the mirror.
This practice, however, is against the religious teachings of Islam. Proof has it
that when the susuk is taken out, the face of the wearer will turn ugly within six
months. The process of removing the susuk can only be undertaken by a medical
practitioner or a bomoh.