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and can still be seen today especially worn by Malay male royals at state functions and Malay grooms on
their wedding day. The familiarity of the costume ensemble enables the audience to connect to the
tradition of the Sut Lima. The details of the costume are not only on the surface, but to the extent of the
cutting of the costumes. Traditional Malay style cuts are explored paired with modern tailoring techniques
and finishing. The seluar is a square cut pants with a gore inserted at the crotch, this is to ease the actor
to perform silat movements and enables him to apply different levels of height in the duel scene. The baju
sarung is a typical baju kurung cut, square cut bodice attached with square cut sleeves with gore and
gussets to create room for the wearer. The baju hias was an exploration of an open front shawl collar
jacket, the bodice panels are all square cut, and so are the sleeves. Why did the writer go to such extent
was basically to give a Malay look in contrary to the western cut tailoring style widely used at present time.
th
Giving the character a look of 16 century Malacca is only achievable by using traditional style cuts, this is
common practice in the west where period costumes are cut accordingly to the period tailoring styles and
techniques. Exploring traditional Malay style cuts would also help sustain the tradition of proper
traditional costuming styles for period style theatrical works, especially in Malaysia.

Designing Hang Tuah for Matinya Seorang Pahlawan 2021 has had the writer/designer to explore
knowledge on classic Malay literature, textiles, costumes and other crafts related. It is with productions
like this, which emphasizes on details to reach their aesthetics goals to help revive the art and appreciation
of Malay Costuming to a new height and audience. Giving justice to the text is a need, the texts has been
around for centuries, the characters are already defined and glorified through their appearance. It is up to
the costume designer to pick up the challenge to make the beautiful costumes come to life, thus giving a
visual impact to the production and making sure, the tradition is truthfully passed down to the next
generation.

Reference

nd
Anderson, B. & Anderson, C. (1999) Costume Design 2 Ed. Belmont, USA: Wadsworth/Thomson
Learning
A.Samad Ahmad (1979) Sulalatus Salatin Sejarah Melayu Edisi Pelajar. Kuala Lumpur: Dewan Bahasa dan
Pustaka

Azah Aziz (2006) Gaya Dan Rupa Busana Melayu. Bangi: Penerbit Universiti Kebangsaan Malaysia

Kassim Ahmad (1997) Hikayat Hang Tuah. Kuala Lumpur: Yayasan Karyawan dan Dewan Bahasa dan
Pustaka

Siti Zainon Ismail (2006) Pakaian Cara Melayu. Bangi: Penerbit Universiti Kebangsaan Malaysia
Shaari, R. (2006). Anjakan Makna Jebat, Tuah dan Baru/Wangi dalam Drama Matinya Seorang Pahlawan:
The Shift of the Meaning of Jebat, Tuah and Baru/Wangi in the Drama Matinya Seorang
Pahlawan. Jurnal Pengajian Media Malaysia, 8(1), 139-150.

Siti Zainon Ismail (2009) Jabatan Muzium Muzium Malaysia. Retrieved from
http://www.jmm.gov.my/files/Konsep%20Adat%20Pakaian%20Cara%20Melayu-
Sentuhan%20Tenunan%20Dalam%20Busana%20Melayu.pdf

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