Page 496 - Proceedings Collega2023

bersurat ayat Qur’an and the kain mastul had to be left out and addition like the tanjak was added in to
complete the concept of the persalinan lima ceper for the costume.

FINDINGS

Picture 6
Costume plate for Hang Tuah with fabric swatches

To be able to ‘see’ the character, a costume designer is to visualize the character through his or her
sketches, followed by a costume plate. The costume plate acts as the first tool to materialize the costume.
The idea derived from the text is transferred onto paper by drawing the figure and dressing it up
accordingly as described in the text. The costume pieces put together through the drawing is derived from
the silhouette of a typical Malay warrior costume. At this point, the writer had also considered the
technicalities of the costume – the openings, fastenings and the finishing of the garment. The colours
rendered was the first colour rendition before the finalized design was agreed upon.

Following the costume plate was the sourcing of the fabrics to be incorporated into the design.
th
15 century Malacca was known for its international ports where traders from around the globe traded
spices and textiles. Siti Zainon (2006, 55) quoted Geddie, the influence of various textiles and garments
from different continents like India - printed cotton, cotton voile (serasah) and Arab-Persian long green
floral robes made from calico and turban had its influence on the fashion worn by the Malays during the
golden days of Malacca. Azah Aziz (2006, 88) also mentioned names of textiles like suf, sakhlat, ainul-

International Conference on Local Wisdom of the Malay Archipelago (COLLEGA 2023) Page - 483 -