{"id":4879,"date":"2026-08-14T10:41:57","date_gmt":"2026-08-14T10:41:57","guid":{"rendered":"https:\/\/www.peranakan.org.sg\/theperanakanmagazine\/?p=4879"},"modified":"2026-08-05T10:57:15","modified_gmt":"2026-08-05T10:57:15","slug":"the-kebaya-and-bird-cage-in-london","status":"publish","type":"post","link":"https:\/\/www.peranakan.org.sg\/theperanakanmagazine\/the-kebaya-and-bird-cage-in-london\/","title":{"rendered":"The Kebaya and Bird Cage in London"},"content":{"rendered":"\n

TPAS members Babas Raymond Wong and Nicholas Chee recall their time showcasing Singapore handicraft at London Craft Week 2026 at the invitation of the National Heritage Board.<\/em><\/p>\n\n\n\n

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Raymond Wong: <\/p>\n\n\n\n

I had the privilege of travelling to London from 9 to 12 May 2026 to participate in London Craft Week 2026, one of the world’s leading celebrations of craftsmanship and creative excellence. This year’s edition marked a significant milestone for Singapore with the debut of the Singapore Pavilion titled Future Craft<\/em>, at the historic Battersea Power Station. As Singapore’s largest-ever collective showcase of living heritage practitioners presented at an overseas pavilion, Future Craft<\/em> celebrated the diversity, creativity and resilience of our traditional crafts on an international stage.<\/p>\n\n\n\n

The Singapore Pavilion brought together the works of 15 heritage craft and design practitioners, with 11 practitioners presenting accompanying public programmes and demonstrations. Together, the pavilion showcased the richness of Singapore’s living heritage through diverse craft forms, including metalworking, lacquer working, bird cage-making, rangoli, lion dance, beading, embroidery, ceramics and the kebaya. It was a tremendous honour to represent Singapore and contribute to this landmark showcase, engaging with both London residents and international visitors. The enthusiasm shown by visitors in understanding our crafts and actively participating in the workshops demonstrated the growing appreciation for Singapore’s multicultural heritage on the global stage.<\/p>\n\n\n\n

I was especially proud that two members of The Peranakan Association Singapore, Nicholas Chee and myself, were among the practitioners invited to conduct public programmes.<\/p>\n\n\n\n

My participation focused on two key programmes.<\/p>\n\n\n\n

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The first was a Peranakan beadwork workshop, where participants created their own beaded charm while learning about the history and significance of Peranakan beadwork. During the two-hour session, I introduced participants to traditional beadwork techniques and showcased examples of Kasut Manek, an evening bag and a beaded wallet. Many participants were fascinated by the exceptionally fine craftsmanship and the tiny Czech glass beads used in these creations. Although the workshop project required only 156 beads, participants quickly realised the patience, precision and perseverance required to complete even a relatively small design. It was immensely rewarding to witness their sense of accomplishment as they completed their beadwork and gained a deeper appreciation for this intricate heritage craft.<\/p>\n\n\n\n

Left: The beadwork workshop in session<\/em><\/p>\n<\/div><\/div>\n\n\n\n

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My second presentation highlighted the Culture X Design<\/em> collaboration, where fashion designers Joanne Quak and Joanna Lim worked with me to reinterpret the Nyonya Kebaya through contemporary fashion. The designers developed a modern textile print, which I further enhanced using traditional kebaya embroidery lacework and Swarovski crystal beadwork. Through this presentation, I shared how traditional craftsmanship can be thoughtfully integrated into contemporary fashion without compromising its cultural authenticity. <\/p>\n\n\n\n

Reflecting on the trip, I believe the objectives of my participation were successfully achieved. I am deeply grateful to the National Heritage Board for providing me with the opportunity to represent Singapore. The meaningful interactions with visitors reinforced the importance of safeguarding traditional crafts.<\/p>\n\n\n\n

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One of the highlights of the trip was meeting the curators from the Victoria & Albert Museum (V&A). Nicholas and I were honoured to be hosted by Mr Louis Copplestone, Curator for Southeast Asia, who personally guided us through the V&A East Storehouse. Seeing historic kebayas and Southeast Asian textiles within one of the world’s leading museum collections was an unforgettable experience. Our discussions explored the cultural significance of the Nyonya Kebaya, its distinctive embroidery techniques and Singapore’s ongoing efforts to safeguard this important aspect of Southeast Asian living heritage. The visit also opened opportunities for future dialogue and potential collaborations to further raise the international profile of Singapore’s Peranakan heritage.<\/p>\n\n\n\n

Left: Raymond showcases his beadwork to V&A curators Dr Louis Copplestone and Sau Fong Chan<\/em><\/p>\n<\/div><\/div>\n\n\n\n

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London Craft Week 2026 was a meaningful platform for cultural exchange, professional learning and international collaboration. I hope the knowledge, experiences and relationships gained from this journey will continue to benefit Singapore’s heritage community and inspire future generations to appreciate and carry forward our living traditions.<\/p>\n\n\n\n

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Nicholas Chee:<\/p>\n\n\n\n

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Left: An A-frame bird cage design by Nicholas’ grandfather is augmented with 3D printed parts
Middle: Nicholas delivering a presentation at London Craft Week
Right: Nicholas’ 3D-printed mini bird cage sculptures<\/figcaption><\/figure>\n\n\n\n

I could not believe it when I first received the news that I would be going to London to represent my grandfather\u2019s birdcage-making skills. It is truly an honour to be recognised by NHB to represent my country\u2019s intangible cultural heritage on an international platform.<\/p>\n\n\n\n

As one of the youngest out of the 11 participants, I found it daunting to stand amongst other heritage custodians with vast amounts of experience. With the traditional A frame wooden birdcage being brought into the context of London, I was not just representing my family\u2019s craft but also an emblem to the bird singing culture in Singapore. <\/p>\n\n\n\n

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Nicholas with a 3D printer, which his employs for his creations<\/figcaption><\/figure>\n\n\n\n

My grandfather was a free-spirited man. He took his agency and independence very seriously up to his passing, being an entrepreneur and riding his motorbike everywhere he went.<\/p>\n\n\n\n

A pioneer in this industry since the 1970s, he has made and sold birdcages for the past 50 years. His signature product, the A-frame bird cage, is used to house the Merah Jambul (Red-whiskered Bulbul). The reason for its triangular shape is for the birds as they habitually \u201csomersault\u201d from the perch to the top.<\/p>\n\n\n\n

Before he passed on, I collaborated with him to 3D print ornamental bone parts to incorporate into his birdcage making. This allowed me to give him rapid customisations of the designs he wanted and to digitally document the structure of the cage. That was how an intergenerational dialogue of craft exchange began between plastic and wood. <\/p>\n\n\n\n

During my presentation, \u201cAh Gong Niao Long\u201d, I went into more detail on the different kinds of traditional birdcages for the various bird species and demonstrated the process of how the 3D printed pieces are made. The audience was treated to an interesting retrospective perspective on an object commonly seen in the heartlands and a uniquely Singaporean living artifact. <\/p>\n\n\n\n

When my grandfather was alive, I promised that I would one day place his work in a museum or exhibition and after London Craft Week I have become closer to my goal. During a sharing session, I managed to meet the Creative Director of Crafts on Peel, Penelope Luk. We discussed on the possibilities of having a craft exchange with the last HK birdcage craftsman disciple to chart the chronologies of how the bird singing culture trickled down from East Asia to Southeast Asia. <\/p>\n\n\n

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Nicholas talking to V&A curators Sau Fong Chan and Dr Louis Copplestone<\/figcaption><\/figure>\n<\/div>\n\n\n

London Craft Week 2026 has allowed me to recontextualise the birdcage craft beyond the heartlands and expand its horizons as a object of academic study, material culture exchange and contemporary evolution. <\/p>\n\n\n\n

I thank the Peranakan community for supporting my past and present endeavours as always, giving me various platforms such as The Peranakan Ball 2024, and Kim Choo for launching my series of 3D printed Peranakan Dolls \u201cAnak Anak\u201d. My designs include \u201cBaju Kahwin\u201d, \u201cBaju Panjang\u201d and \u201cBaju Kebaya\u201d. It always energises me when I attend Peranakan events to see how motivated and committed the community is to preserve the culture. <\/p>\n\n\n\n

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