Singapore has an attractive hybrid culture that was created through the coexistence of various ethnic groups. The Peranakans played a pivotal role in the formation of this diverse culture. The term “Peranakan” broadly refers to an ethnic group descended from unions between the local ethnic group and the various ethnic groups who settled around the Malay Archipelago for trade purposes in the 15th century. The majority of Peranakans are descendants of the settlers from South China and the local Malay people. These unions blended Chinese and Malay culture to form the Peranakan culture. In the Malay language, a male Peranakan is called baba and a female Peranakan is called nyonya.
Nyonyas were so significant in shaping the Peranakan culture that a special term exists to describe their characteristics: nyonya culture. The essence of nyonya culture is demonstrated particularly well in fashion. From a young age, nyonyas learn embroidery, beadwork, and needlework from adult women in their family. Naturally, nyonya fashion therefore includes items handmade by nyonyas. The style’s unique designs and tones are influenced by the local climate and situation. Popular colors include vivid pinks, sky blue, pea green, and yellow ─ colors also seen in Peranakan attire, porcelain, and embroidery.
The key to nyonya fashion are kasut manek, meaning “beads and slippers” in the Malay language. Kasut manek are handmade slippers created by threading small beads together. Originally, slippers were worn by the local Malay people to cope with the tropical weather. This custom, merged with Chinese cultural influence, led to the creation of kasut manek, which were gradually absorbed into nyonya fashion. Peranakan nyonyas made kasut manek themselves or had them made for special occasions such as weddings. As time went by, kasut manek became part of daily nyonya fashion.
Although kasut manek come in various shapes and with different types of heels, popular colors and decorations have changed according to the trends of the time. In particular, methods of making the slippers’ exterior surface and decorative patterns have evolved. Slippers from the late 19th and early 20th centuries featured auspicious patterns from traditional Chinese culture such as phoenixes, peonies, dragons, flowers and birds, and giraffes. The surfaces of the slippers that covered the top part of the feet were then embroidered with colorful threads and beads. Kasut manek that best demonstrate these features are exhibited in the Peranakan Museum in Singapore (Image 1). The surface is divided into small sections using colorful pieces of cloth, and decorative patterns, including phoenixes, giraffes, and clouds, are embroidered with small golden beads to create a sense of glamor.
Kasut manek estimated to be from the late 19th or early 20th century, Peranakan Museumⓒ.
Examining the kasut manek made in the early 20th century, meanwhile, one can see a development in technique as the entire exterior of the slippers is covered in various decorative patterns made with colorful beads. In addition, we start to see motifs not found in previous kasut manek, such as roses, dogs, parrots, and little girls. This seems to have been the influence of the European cultures that were then newly introduced to the country. Images 2 and 3 of slippers exhibited in the Asian Civilisations Museum in Singapore are good examples of this style. In comparison to the kasut manek made in previous ages, the surfaces of the slippers are covered with a wide range of colorful beads. Animals and plants that were influences on Western artistic tastes were used as decoration.
Kasut manek featuring a rose pattern, early 20th century, Asian Civilisations Museum Collectionⓒ.
Kasut manek with images of little girls and parrots, early 20th century, Asian Civilisations Museum Collectionⓒ.
The colorful beads used to produce kasut manek in this period were mostly imported from Europe and Japan. Based on this, it can be assumed that the change in the decorative patterns of kasut manek was influenced by the changing era. In addition, after the 20th century, kasut manek came to be enjoyed not only by nyonyas in Singapore but by women overseas who also made the slippers themselves. Accordingly, it is evident that the decorative patterns and techniques used to make kasut manek have changed to reflect the tastes and preferences of new consumers.
Inch by inch, bead by bead, kasut manek created by nyonyas reflect the history and culture of Singapore, a state formed by range of ethnic groups. Accordingly, kasut manek are valued as a Peranakan legacy that represents the hybrid culture in Singapore, and are mass produced today as a popular tourist item.
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