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why, despite her love for traditional textiles and cloths, there were no new patterns and designs. Through combining brand new motifs with traditional weaving techniques and methods using softer threads to create fabrics that could be batiked, Obin created completely unique yet totally
Indonesian fabrics that did not rely on imported cotton and chiffons.
278:. At the opening ceremony, Obin paid tribute to her late husband, whose idea the museum had been, and to her son, Erlang, who, after his father's death, took control to ensure that the plan went ahead. The museum, which is the first of its kind on the island, is also the first museum in Indonesia to use the latest digital technology such as
211:, with her shawls being worn by fashionable women to cocktail parties. Previously, batik had been considered a dark, heavy and old-fashioned fabric that was only worn by politicians and their wives to formal functions, but due to the work of Obin and Edward Hutabarat, it had become a desirable and fashionable fabric.
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In 1985, while going over the antique batiks and textiles she had collected since the age of 17, Obin was inspired to explore the crafting techniques that had gone into them, and developed her own hand-weaving and printing methods to enable her to create her own original fabrics. She also questioned
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By 2012, Obin employed over 1,000 artisan workers to completely hand-create her fabrics, many of whom had passed their skills down through the generations. In addition to Japan, Singapore and Bali, Obin textiles are bought by traders and resold in Europe, Australia, the Middle East, and the United
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Preserving the traditional skills and techniques of
Indonesian textile production is extremely important to Obin, who describes the textiles produced under her name as "works of life", rather than works of art. In some cases, exceptionally elaborate batiks can take up to a year and a half to
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was as much part of their heritage as
Indonesia's, although Indonesian designers such as Hutabarat, Obin and Sanchia Hamidjaja were cited as major players in the batik revival of a few years earlier, which combined contemporary updates with heritage technique.
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named Roni
Siswandi; they have one son, Erlangga (called 'Erlang'). She is a self-taught textile designer who has never formally studied the subject, but taught herself through collecting, handling and examining fabrics, and seeing them made.
173:. In 1989 she opened her first boutique in Japan. By 2001, in addition to several Japanese outlets, there were Bin House galleries in Bali and Singapore along with the Menteng establishment. There is also a retail outlet in the Netherlands.
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complete, which means that the end product is expensive, but it is more important to Obin that her workers receive appropriate payment and appreciation of their skills. Obin prefers to avoid cutting into her textiles, making them into
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so that their patterns are kept intact. Sometimes she asks buyers not to cut the fabrics, but instead to appreciate their craftsmanship, artistry and heritage techniques. She has said "Batik is our heritage and we must preserve it."
117:(himself credited with the batik revival) and Ghea Panggabean describing her as the real authority and leader of the mid-2000s movement to update and modernise batik. Despite this, Obin describes herself as simply a
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In a BBC interview in 2012, Obin stated her intention of opening a textile museum in Bali in 2013. Museum Kain (literally, "cloth museum") formally opened on 20 November 2013 in the
Beachwalk shopping mall in
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Born in
Indonesia in 1955, Josephine Werratie Komara went to school in Hong Kong until she finished elementary school and then returned home, aged 14. Until his death in 2013, Obin was married to an
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recognised batik as an important part of
Indonesia's heritage, naming it part of the world's "intangible cultural heritage". This designation was controversial with some
614:"Battle for Batik: A controversial UNESCO designation, Malaysian pride and young Indonesian designers breathe new life -- and old arguments -- into a traditional fabric"
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States, where her work is more desirable than equivalent pieces from
Vietnam or Thailand. Due to their handcrafted nature, no two Obin pieces are identical.
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Obin started out in the 1970s, whilst
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640:"Batik of Indonesia Perfected with Technique and Time Wearable Art: Indonesian Batik Cloth Exhibition"
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wings, these are printed rather than authentic wax-resist batik in order to ensure uniformity.
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In 2010 Obin helped design uniforms made from traditional cloth for staff and cabin crew at
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in Sydney, Australia, and institutions in Amsterdam and Japan. In 2010, the
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for lampshades and upholstery. In the early 1980s she began to sell
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Flight attendant uniforms for Garuda Indonesia designed in 2010
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Indriasari, Lusiana; Yulia Sapthiani (26 September 2010).
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453:"100 Next CEOs in Asia 2010: Josephine Werratie Komara"
382:"Restoring Color to the Art of Batik: Fabric of Life"
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In 1986, Obin opened her first Bin House showroom in
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263:Wearable Art: Indonesian Batik Cloth
428:"Cloth is all that counts for Obin"
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588:(in Indonesian). Female Kompas.com
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669:"Museum Kain: The legacy of love"
240:taking offence and claiming that
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644:The Korea Foundation Newsletter
426:Diani, Hera (14 October 2001).
325:Emond, Bruce (20 August 2010).
565:. Powerhouse Museum, Australia
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711:Indonesian fashion designers
59:Textile and fashion designer
129:Personal life and education
45:1955 (age 68–69)
16:Indonesian textile designer
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638:Go-woon, Choi (May 2010).
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352:"Josephine 'Obin' Komara"
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586:"Terbang Bersama Kebaya"
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331:Jakarta Post Weekender
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286:References
238:Malaysians
152:raw silks
123:Bin House
107:Indonesia
49:Indonesia
618:CNN News
538:BBC News
261:hosted
249:Museums
222:sarongs
171:Jakarta
167:Menteng
101:, is a
83:Website
234:UNESCO
226:shawls
202:garuda
194:kebaya
190:Garuda
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242:batik
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