For decades, designs and handicrafts from Southeast Asia have won acclaim from both consumers and design awards abroad. But often, it was appropriated, misidentified, and conflated as “exotic” good from the “Far East”—a colonial term that viewed Europe as the center of the world. Local designers and craftsmen were not credited and compensated for their genius and creativity. They did not own the brand they helped created. The richness and diversity of Southeast Asian culture made it especially hard for foreigners to properly identify and appreciate these original designs. But that is about to change. There is now a concerted effort to create a recognizable and consistent yet pliable and adaptable brand identity for Southeast Asian design.
The ASEAN Master Craft Design Festival, part of Manila FAME 2016 currently ongoing until October 22 at the World Trade Center, Pasay City, Metro Manila, Philippines is a partnership with the Center for International Trade Expositions and Missions (CITEM) of the Department of Trade and Industry (DTI), the project was initiated by the ASEAN Handicraft Promotion and Development Association (AHPADA), the region’s largest group of craftsmen. The project is endorsed by the National Commission on Culture and Arts (NCCA) through the Department of Foreign Affairs (DFA) and funded by the ASEAN–Republic of Korea Future Oriented Cooperation Program.
“The program aims to strengthen and enhance the use of design in reinforcing cultural identity in the development and marketing of ASEAN products by sustaining the region’s master craftsmen,” declares Mina Gabor, chairman of the Philippine Small and Medium Business Development Foundation, Inc. (Philsmed) at a forum on October 20 that included master craftsmen Roselyn Long Lah and Edric Ong of Malaysia, Lim Masulin of Indonesia, Truong Phi Duc of Vietnam, Rush Pleansuk of Thailand, and Al Valenciano of the Philippines.
“The solution is, not only to groom and propagate mastercraft designers, but also to make them develop and establish their individual cultural identity, attain brand distinction despite the commonality of raw materials, diversity, and ultimately enable them to name their price,” she elaborates.
The pavilion, which was inspired by a cocoon and executed in metal and cloth, was curated by celebrated Indonesian architect Cosmas Gozali. The Vienna-trained designer presents modern and futuristic design works with innovative spatial exploration.
On display were Indonesian batik handweaving applications on furniture, clothing, houseware and installations, and Malaysian beadwork, Sarawakan native headgear, and cloth as fashion accessories and lighting fixtures.
The Philippines was represented by inabel handwoven products from the Ilocos Region, Vietnam displayed its notable lacquerware sets, while Thailand its craft designs applied on furniture, lighting, accessories and houseware toys.
“The solution is, not only to groom and propagate mastercraft designers, but also to make them develop and establish their individual cultural identity, attain brand distinction despite the commonality of raw materials, diversity, and ultimately enable them to name their price,” she added.
The program, in operation since 2015, has so far trained 103 new craftsmen in Indonesia, Vietnam, Malaysia, Thailand and the Philippines. The five senior ASEAN master craftsmen underwent an observation tour in Milan, Italy last April to interact with top international designers and get updated on global trends.
Gabor said that the exhibit is the “coming out party” for the Asean as they make a statement that they are ready for the world fashion and design market.
A second round of workshops is slated for the master craftsmen of other Asean countries such as Singapore, Brunei, Cambodia, Myanmar and Laos as a continuation of the program.
A similar exhibit showcasing the crafts of the five countries will also be held in 2017 in Jakarta and Bangkok, and the complete 10-member Asean will stage an expo in Paris in 2018.
