A New Wave of Indonesian Designers Embracing Conscious Production
MUME, ANW, and Saroong Atelier spotlight slow fashion
In Indonesia, a new wave of brands is stepping away from the relentless churn of fashion’s cycle, choosing to produce collections on their own terms and pace. Whether through natural dyeing, working with artisan weavers, or thoughtful reinterpretations of traditional garments, these labels are quietly reshaping our relationship with clothing.
MUME slows down to follow the rhythm of nature, embracing natural dyes and traditional dyeing techniques that celebrate the beauty of handcrafted imperfections. ANW offers a fresh take on traditional silhouettes, reworking them through a modern lens with deadstock fabrics and handwoven tenun in collaboration with artisan weavers, including a capsule collection that reimagines vintage vests and blazers. Meanwhile, Saroong Atelier and its experimental sub-label Angsana by Saroong explore new dimensions of traditional textiles, experimenting with fabric manipulation to create unexpected, dynamic silhouettes reimagined for everyday wear.
MUME: A Return to Natural Processes
MUME’s Vol.005 Collection Campaign. Photo by John Clayton Lee. Image courtesy of MUME.
MUME began as a personal experiment by Irene Wira during her time at Bunka Fashion School in Tokyo. With the world slowed down by the pandemic, she turned to natural dyeing at home, using ingredients like pomegranate skin, walnut husks, and tea leaves to play with different shades and textures available in everyday ingredients. These materials would later shape the brand’s early collections, all crafted in her home studio.
Defined by relaxed tailoring, gentle structure, and distinctive ruched detailing, MUME’s aesthetic leans into muted, organic tones crafted with an emphasis on materiality. “From the start, our goal is to design pieces that aren’t dictated by time or trend,” shares Irene. This approach to longevity informs not only the brand’s silhouettes, but also the careful selection and treatment of materials. Each garment bears the imprint of its making, embracing the imperfect, human touch behind every piece.
Central to this approach is Irene’s ongoing experimentation with natural dyes. For MUME’s Vol. 003 collection, which was also her final project at Bunka, she teamed up with fellow graduate and textile major Agnes Nata to deepen their exploration. Together, they explored the use of wine and rust dyes from collected bicycle parts to achieve soft orange and light brown tones.
MUME’s VOL.003 Collection Campaign, with pale orange and light browns created using rust dyes. Image courtesy of MUME.
Since returning to Jakarta in 2021, MUME has grown to incorporate handwoven textiles and naturally dyed materials crafted by artisans in Bali and Yogyakarta. Although this remains one of Irene’s favourite aspects of the work, the brand’s commitment to slow production also brings its own challenges, with lead times sometimes extended due to weather conditions or the delicate nature of handmade processes. “There have been so many instances I’ve had to inform our customers that their orders are taking longer than expected because the fabric couldn’t dry in time during the rain, or other unpredictable factors,” Irene explains.
Fortunately, MUME’s community has proven to be both patient and engaged, often viewing these delays as part of the brand’s creative process rather than an inconvenience. For Irene, this mutual understanding reinforces the relationship between maker and customer, one built in transparency and a shared appreciation for the values of a more conscious production cycle.
Working with nature-driven processes and batik techniques also means that signs of aging or subtle changes in colour are inevitable over time. But rather than seeing this as a flaw, MUME embraces it. “It’s about designing for people who care about their clothes as much as I do, and building a lasting connection between the clothes and their wearer,” says Irene. To support this, the brand offers a service where customers can return well-loved pieces and purchase a new one at nearly half the price, providing a way to recycle and refresh older pieces while also educating them on how to care for their garments.
MUME’s batik dyeing process, with each stroke brushed by hand. Image courtesy of MUME.
The relationships she built through collaborating closely with local artisans has also become a significant part of the work. “For me, the most rewarding part is how personal it feels. With natural dyes, every piece comes out a little different—even if they look similar, the colours and patterns are never exactly the same.” Irene shares. “Working closely with the artisans, I get to know them personally, hear their stories, and witness the tradition and knowledge they carry. In a way it’s also about shedding light on traditional dyeing processes and bringing it to a wider audience. So it feels like we’re growing something together, not just doing business.”
MUME’s Vol.006 Campaign Collection. Photo by Weda Sattya. Image courtesy of MUME.
While MUME has expanded its presence through offline stockists with multi-brand retailer PILLAR and its current showcase at Escalier in Bali, the brand primarily operates on a made-to-order basis, with majority of the sales coming from the United States and United Kingdom. Today, Irene continues to oversee most aspects of the brand herself, from creating delicate handmade clay buttons to repurposing fabric scraps into care tags—small yet telling gestures that reflect MUME’s mindful and lasting approach to clothing.
ANW: An Exploration of Craftsmanship and Materiality
ANW’s ‘M’ Collection Campaign. Image courtesy of ANW.
Echoing a similar respect for the creation process, ANW takes a thoughtful approach to revisiting traditional Indonesian silhouettes. Founded by Astrid Nadia Wiradinata as a final-year project at Istituto Marangoni in Milan, and later developed alongside co-founder Ilaine Prasetyo, ANW started as a study in how traditional garments like the kebaya encim could be made wearable for the everyday.
ANW’s early collections reimagined the kebaya—once an intricate, formal garment reserved for special occasions—into casual, everyday wear, with relaxed silhouettes, pastel palettes and lightweight pleated tulle embellished with their signature floral embroidery. By working primarily with deadstock fabric, they introduce a unique sense of individuality and character through their designs by using materials that would otherwise go to waste. “Once the fabric is finished, that’s it,” says Ilaine. They use this limitation, however, as an opportunity for deeper customer involvement, inviting clients to choose from the available fabrics and engage more personally in the design process.
Building on this foundation, ANW has ventured into working with handwoven tenun ikat textiles for the first time, collaborating with one of Bali’s longest-standing weaving factories Setia Cap Cili, for their latest collection ‘Vanca’ which was presented at Jakarta Fashion Week 2025. Drawing inspiration from 20th-century tin miners in Bangka, the collection presents variations of their kebaya encim, while also introducing new techniques to showcase their signature floral pattern, such as the kirigami-style embroidery, manual stamping, and the tenun fabric itself.
Embracing the intricacies and laborious process of handwoven textiles, the collaboration with Setia Cap Cili allows ANW to honour the complexity of traditional craft but also adapt it to a modern sensibility. “Working with tenun fabric feels like an exciting new way for us to explore tradition. The process is very intricate—especially to weave the floral patterns just right. Seeing the process in person, you see how much of a labour of love it is.” In ‘Vanca’, these storied fabrics are reimagined into modern wardrobe staples, including wrap sarong pants, low-waisted skirts and oversized shirts, all presented in fresh, contemporary colourways.
ANW’s ‘A Walk in Harmony’ Collection Campaign. Photo by Thomas Sito. Image courtesy of ANW.
ANW’s ‘Vanca’ Collection Campaign, featuring a traditional tenun ikat sarong skirt. Photo by Thomas Sito. Image courtesy of ANW.
The brand is also intentional about minimising fabric waste, setting aside off-cuts and leftover materials to be repurposed into sample accessories, often in collaboration with local designers. For ‘Vanca’, ANW worked with By Her to create kiss-lock purses featuring their signature shirred and embroidered textiles. In ‘A Walk in Harmony’, they partnered with Christin Wu on footwear that reflected the collection’s craftsmanship and extended the narrative of the fabric beyond the garments.
More recently, the brand also introduced a capsule collection with LUA Archives for online retailer IAM, reworking vintage suits and vests into fresh, wearable designs using their signature shirring technique and handmade floral buttons. “We’d ask LUA to send us pieces they found harder to sell, whether due to minor defects or simply being overlooked, and rework them into something fun and wearable again,” says Nadia. “The idea is to create clothes that stay with our customers for a long time, pieces they’ll reach for and wear over and over.”
ANW for LUA. Image courtesy of ANW.
Given the delicate nature of their processes, ANW places a strong emphasis on making repairs and upkeep simple, helping customers keep their pieces for a long time. This attention to durability also extends to their custom designs for special occasions such as engagements and weddings, which are made to be layered and styled in different ways, ensuring they remain timeless and treasured long after the event.
Saroong Atelier: Reimagining Traditional Fabric for Everyday Wear
Saroong Atelier’s ‘Sangkep’ Collection. Photo by Meidiana Tahir. Image courtesy of Saroong Atelier.
Founded by Ayla Jaya in 2021, Saroong Atelier draws inspiration from the city’s everyday scenes. The flower boards that line the streets as symbols of condolence, or the vibrant stacks of market snacks, serve as visual cues that Ayla translates into her designs.
Collaborating closely with weavers in Menggah Agung in Bali and across Makassar, Saroong Atelier reimagines kain endek and other traditional textiles into lightweight, reversible garments designed for easy movement: double-faced sarongs in acid-bright colours, reversible bandeau tops with multiple styling options, and kebaya with detachable sleeves. “Compared to when we started, there are more brands now working with traditional fabrics,” says Ayla. ”But back then, a lot of people were surprised to learn that our designs were made using traditional textiles.”
A core element of Saroong Atelier’s philosophy is educating customers about the labor-intensive processes behind their handwoven fabrics. For Ayla, this is crucial to understanding the true value of each piece. “People often don’t realise the time and skill involved. It’s not just about the fabric, but the knowledge, the passed-down tradition and the artisans that are involved.” By working directly with local weavers, Saroong Atelier ensures their craftsmanship is recognised and celebrated, which is also reflected in the brand’s pricing. “Our pricing reflects not just the design, but the time, skill, and care invested in every garment,” Ayla explains.
Versatility is another foundational principle at Saroong Atelier, deeply embedded in the brand’s flexible, instinctive design process. “We want our customers to get more from their clothing,” says Ayla. “That means designing pieces that can be worn in multiple ways and styled over time in various combinations.” This shapes every stage of the brand’s creative process, where Ayla works closely with the fabrics to allow each piece to evolve through hands-on experimentation. She adds, “During the sampling phase, we play with fabric manipulation, draping, and other techniques to explore new ideas. Sometimes the final piece looks nothing like the original drawing, but that’s the fun part!”
Saroong Atelier’s ‘Muuli’ Collection Campaign. Photo by Stephany Azali. Image taken from Saroong Atelier’s Instagram.
Angsana by Saroong Atelier’s ‘SAR’ Collection Campaign, featuring shirred endek Bali. Image courtesy of Saroong Atelier.
Last year, Saroong Atelier took their experimentation further with the launch of Angsana by Saroong, a more experimental, high-craft sub-label. For its debut collection, ‘SAR’, the design showcased a wide range of fabric techniques, including draping, shirring, pleating, quilting, and layered patchwork. “With Angsana, the goal is to create one-of-a-kind pieces that allow me to explore fabric manipulations more freely. We also repurposed materials from our past collections to ensure a certain continuity,” says Ayla. Collection highlights include a two-tone reversible corset, a skirt made from silk tenun Makassar with drawstring accents that doubles as a tube top, and a cropped outerwear or blazer with multiple button options and detachable sleeves.
Together, MUME, ANW, and Saroong Atelier sketch a portrait of a new wave of Indonesian fashion landscape—one that is slower, more deliberate, and deeply connected to the hands that make it. Amidst fast fashion and transient trends, these brands focus on craft, material, and heritage, where the creating process behind a garment is equally as valuable as the garment itself.