Keep them wondering
Malaysia’s uniqueness is instrumental to this fashion designer’s work, writes Aznim Ruhana Md Yusup
COMING back to where you started is not the same as never leaving, says British author Sir Terry Pratchett in one of his novels. This is certainly true for iconic Malaysian designer Datuk Seri Bernard Chandran, who’s been in the fashion business for 25 years since he opened his boutique in Kuala Lumpur in 1993.
Bernard, who is of Indian and Chinese parentage, credits his fashion education in Paris in the early 90s for teaching him contemporary European style and design techniques, but it is his Malaysian roots and upbringing that have made him the designer he is today.
“Leaving Malaysia for Paris was the best thing that happened to me because it made me realise how beautiful our culture and traditions are. We have true diversity here and I have the right use Malay, Chinese or Indian heritage in my designs because I am Malaysian.”
Amidst current discourse on cultural appropriation in fashion, Bernard says, “This is what I grew up with and what I have inside access to from my time at school and with friends. I’m not borrowing or ‘inspired by’ these influences — they’re mine. From using the Malay kerawang to woven Indian silk and Chinese embroidery, I don’t have to answer to anybody.”
I’m not borrowing or ‘inspired by’ these influences — they’re mine. From using the Malay kerawang to woven Indian silk and Chinese embroidery, I don’t have to answer to anybody.
Datuk Seri Bernard Chandran
As these unconventional Hari Raya looks show, Bernard seems to enjoy defying expectations. Such heritage details can be seen in the collections that Bernard has shown over the years. But one recent proof of this is the outfit that he presented at the Commonwealth Fashion Exchange in Buckingham Palace in e UK in February, that caught the e of Prince William’s wife, Cathne, the Duchess of Cambridge. He was Malaysia’s representative at the 52-country event — others included Stella McCartney for Britain and Karen Walker for New Zealand. He uploaded photos of his interaction (Left) Bernard explaining his design to Catherine, the Duchess of Cambridge at Buckingham Palace in February. with the Duchess on his Instagram account with the caption, “She wants to know more”.
Catherine was pictured listening intently to Bernard on the strapless dress and overcoat ensemble, with its use of striped songket fabric with kerawang embroidery at the hem. Meanwhile, the floor-grazing coat was woven with phoenix and peony motifs using wool yarn for added depth and richness.
Bernard, in the website of the organiser, Eco-Age, is quoted as saying “Traditional craftsmanship, that may be deemed mundane (or) dull to some, must be given a new lease of life, a whole new perspective. We can create a ‘nouveau’ sense of modernity with these artisanal ideas, which would be sought after on an international scale.”
Part of Bernard walking the talk on honouring tradition is his Petang Raya presentation. He started it in 2006 between his then-twice yearly shows at London Fashion Week. It’s a showcase of Hari Raya outfits for men and women that is specific to the Malaysian audience.
“For years it was just me doing Raya collections,” he says. “There were no competitors, which I didn’t like because it left me in a comfort zone. But now, you see many designers doing Raya shows, whether as presentations or online, and that’s what you want to see.”
But the key is consistency, both in the quality of the design and the refinement of the workmanship. A designer needs to keep a sharp eye on what the audience expects in order to surprise them, and Petang Raya is how Bernard’s staying on top of the game.
“You need to put on a presentation,” he says. “If you don’t show 100 or 50 looks, at least show 12. There was a year when we did only 17 pieces of baju raya. It’s important to show people what you have that is new to keep them wondering what will be next.”
At 50, Bernard is still a bit of a rebel andseems to enjoy defying expectations. It’s the same streak that led him to insist on going to Paris despite his parents’ reluctance, and having to learn French in order to study there. Language did not stop him, neither did people’s reactions to his designs every time he rolled out a collection.
“People always say I’ve gone mad,” he says. It comes from his mixing of plastic with silk or using cotton and jersey for intricate, high fashion pieces. Or creating a baju kurung made of fur and a see-through baju melayu made of lace.
But he thrives on these reactions, because he sees it as a personal responsibility to provoke and push the envelope. (It also helps that he has built a wealthy clientele that keeps him in business.) While he’s respectful of younger designers, you can’t help but notice that he wishes they were more imaginative and daring.
That said, he takes credit for showing them (and their parents) that fashion is a viable career. It wasn’t as easy for him and his wife, former model Datin Seri Mary Lourdes back then. People even doubted their relationship, he says. But after five kids and 28 years of marriage, they’re still together and he is still in the business with no plans to stop.