With backgrounds rooted in Indonesia and the Philippines, designers Toton Januar and Chris Habana respectively reinterpret tradition with a modern hand, creating work that is both personal and globally attuned.
In New York, Chris draws from the religious iconography and cultural intricacies of his Filipino heritage, crafting bold, often subversive jewellery through his namesake line, CHRISHABANA. Meanwhile, under his label, TOTON, Toton continues to engage with Indonesia’s rich textile traditions into soft tailoring and quietly powerful silhouettes.
Speaking over Zoom, the two designers shared a candid conversation on identity, artistic evolution and how they continue to navigate, and disrupt, the shifting currents of global fashion and carve space on their own terms.
This conversation took place one week before the 2025 MET Gala, and has been condensed and edited for clarity.
Toton Januar (TJ): Hi Chris! Nice to finally meet you.
Chris Habana (CH): Hi Toton! Pleasure is mine. Thank you for making the time, I’m really glad we could connect like this.
TJ: How are things over there?
CH: It’s going well, it’s been pretty hectic with the MET Gala. How are you guys doing over there?
TJ: We’re doing fine. It’s a pretty slow month for us here in Indonesia, because fashion week usually takes place towards the end of the year. Some designers, myself included, used to go to Paris for seasonal Fashion Week showrooms, but we no longer do that after the pandemic.
CH: I feel like having a show once a year might be the wisest thing, business-wise, to do anyway. You can express fashion in so many different ways these days that you don’t necessarily have to have it so much and so fast.
TJ: I completely agree with you. With TOTON, we used to do a lot of collections per year. Then, after the pandemic, we realised that we don’t have to produce as much to say something or to provide for our clients. So Chris, how did you start CHRISHABANA?
CH: Oh God, it’s been a while. Prior to the launch in 2008, I was already either trying to sell my pieces or doing a couple of shows. I dropped out of college, so everything was self-taught. I moved to New York in 2000. Back then, you just took your designs to stores and see if they would take it—so that’s what I did. But I realised that I loved jewellery and accessories a lot more because you could really make a big statement without having to worry about proportion or fit, or those sorts of things.
TJ: If you don’t mind me asking, where did you grow up? And how old were you when you moved to the United States?
CH: I grew up in the Philippines. My parents got divorced, so I moved to the U.S. for good in 1989. I haven’t been back to the Philippines since, which is really crazy to me. So, you were born in Indonesia?
TJ: Yes, I was born in Indonesia. But I did spend some time in New York. I went to Parsons School of Design. But fashion was not my first choice, I explored quite a few things before that. I was in a boy band, and I also worked as a model. While I’ve been interested in fashion since I was a child, it was during my time as a model that I fell in love with it.
“I used to idolise all this kind of Western aesthetic, even East Asian—Japanese designers were very big at the time.” – Toton Januar
CH: Can I ask what it is about fashion that interested you [at the time]? Especially because a lot of the industry is working behind the scenes, so you went from being very much in front of the camera to pretty much the opposite.
TJ: I think being a model gave me valuable insights into the creative process—from the initial ideation to the product development, all the way through to the final presentation. It’s fascinating to see how an idea transforms into something tangible, which I realised was something I really enjoyed being a part of. What about you, Chris? How did you get into fashion?
CH: When we first started doing jewellery, we had our successes; Rihanna was wearing our first septum props, and that boosted us a bit. We sold to a few stores, including Opening Ceremony, and we also did a few collaborations within New York Fashion Week. It’s funny you mentioned the pandemic earlier because that’s when the business changed yet again. It changed the way people shop and the whole landscape of commerce. For a lot of designers, it was a struggle to stay open. I was doing a few custom jewellery pieces at the time, and now I feel that we’re both a jewellery design house and a costume design house. We do full outfits, but we can also just do, say, the headpiece.
TJ: So, it’s like a full service, right?
CH: Yeah, it’s more full-service with us. I’m very much an explorer when it comes to my designs, and I’m always trying to find new ways of expressing them. How did you end up growing your business?
TJ: I’ve always wanted to have my own brand after doing modelling for a few years. So, I decided to go to school for fashion design in New York. It was there that I found my love for Indonesia. Before that, I used to idolise all this kind of Western aesthetic, even East Asian—Japanese designers were very big at the time. When I was in New York, people were asking me where I was from and what it was like [living in Indonesia]. And it just dawned on me that, wow, Indonesia is actually great—full of creativity and craftsmanship, definitely something I took for granted.
So right there and then, I decided to build a brand that offers a contemporary translation of Indonesian culture. I think it was 2012 when I finally launched my first collection in Singapore. It was inspired by the natural beauty of Indonesia and the craftsmanship that is an integral part of many Indonesian cultures, which we explored through various embroidery techniques. We were doing ready-to-wear, and it was a very business-to-business model—I think that’s the Parsons education, they taught us to be businessmen first. But at the time, I was also trying to find my place as a designer back in Indonesia. I think it’s a delicate balance to have, trying to maintain the buzz here and also trying to make it abroad. But we were doing okay until the pandemic; we were doing seasonal collections, we had our showroom in Paris, and we had a lot of buyers from the Middle East.
CH: The garments looked so beautiful and modern as well. It just feels like this real fresh take on embroidery and all of the traditional techniques. I especially loved your 2021 collection with the denim recycling and the patchwork, that was very cool—it’s definitely more of the things that I also gravitate to in my life. I’m not surprised that it was successful, but I agree, the pandemic definitely changed a lot.
TJ: Thank you so much. I think even before the pandemic, I was already trying to be more mindful with my production, and we also started including more recycled and upcycled materials. The denim that you mentioned earlier is completely made from factory off-cuts. The whole collection was created using nearly 100 per cent old fabrics, including leftover materials from previous collections.
The concept [of the collection] is centred around belief systems and faith, acting as ‘armour’ during challenging times. I believe that the idea of belief is closely related to Indonesian culture, and the development of this collection reflects our hopes for a better world. Additionally, we incorporated paper-mâché breastplates inspired by the statues of Hindu goddesses found in Javanese temples.
I realise being based in Indonesia is not the same as London or New York, for example. The opportunity…it comes and goes. And sometimes, that means that we cannot respond to offers and opportunities as quickly.
“These days, it’s one thing to sell a lot, but being in business for so long, longevity and relevance are what I look for more. It’s about staying in the game as long as you can.” – Chris Habana
CH: But the fashion landscape as it is now, it’s changed into something celebrity-driven, which is not new. It’s just that now, you have to think about the work and marketing the work simultaneously. Before, I used to focus on the product first, and then worry about how to show it. Today, you have to think about the product, the strategy behind it, how it sells, all at once.
TJ: You’re right. It is an important point to have as a brand, especially if you want to really push into a more global direction. I mean, even though I’m in Jakarta, some stylists abroad have actually reached out to me to collaborate, but none of it materialised because of the time and geographic constraints.
CH: But there’s an exchange there. What you’re honing in on and harvesting is very artful and thought out. I think that’s the difference with regions that aren’t necessarily as “international” or Western, the trade-off is you’re coming up with more pure work. In America, it’s been great, of course—I’m not going to complain. But the pacing is so fast that if you really want to get in it, you run with it.
The funny thing is, I’m a designer who doesn’t necessarily follow seasons. I probably show even less than you. One, I do jewellery as my main core business, and with jewellery, it’s kind of never-ending. And two, the rest is more custom and costume, so those projects go in and out fast. Even though I don’t show as much, in the costume world, timings are just so tight. Sometimes decisions are made in five days, three days, or sometimes even a day before [the deadline]. Trying to keep up and staying relevant is definitely a challenge.
These days, it’s one thing to sell a lot, but being in business for so long, longevity and relevance are what I look for more. It’s about staying in the game as long as you can.
TJ: I think what you’ve done is really fantastic. I can only imagine how people must expect you to be a magician by being able to create all those beautiful things in such a short amount of time.
CH: It is a little nuts. Like I said, for the MET Gala, I only got the request one week before the event. You’d think that with all the eyes on it, it’s crazy to get something done in that short amount of time. I mean, that’s just the reality of it.
“The world is so connected now that you don’t necessarily need to live in these fashion capitals to be important. It’s really about carving your niche where you are and expressing that. It’s more about what works in your environment.” – Chris Habana
TJ: So, tell me how much of your cultural background influenced your work? I see a lot of tribal influence and very otherworldly things that you incorporate in your work.
CH: Thank you for seeing that. When I look at your work, I see so much of this direct interpretation of craft and modernising it. I think my experience in the Philippines, especially after not being there physically for so long, boils down to memories from my childhood. My favourite part of school is the craft class, and my brother, who passed away recently, had taught me how to draw and dream of otherworldly things.
Growing up Catholic, I was also really influenced by the iconography, the crosses, and all of that. So when I combine them together, they make their way to my work in more subversive ways; The Philippines also has so much lore about horror and the otherworldly. Like you said, there’s tribal, there’s punk, there’s sci-fi [in my work].
Being Filipino, we are inherently mutts—mixes of so many cultures, Spanish, Japanese, American. And all of that informs how I work—exploring, trying new things, mixing aesthetics and ideas, challenging systems. With my queer identity, all of that comes out in my work. A lot of the beginnings were definitely in the Philippines. So like I said, it’s not one aesthetic, it’s more about how I was brought up to become the kind of designer I am now.
TJ: Yeah, I can completely see your world. This dystopian, really cool, but almost painfully beautiful world.
CH: Thank you, I love that you see it that way. I definitely can see how [your cultural background] influenced you. You mentioned that when you were in Parsons, you missed Jakarta and Indonesia in general. How did that come about? Was it just because of the environment of being in New York? What made you want to go back to your roots and all that?
TJ: It’s the sense of identity, first and foremost. At the time, I was faced with the fact that I’m part of a larger world. I mean, that was my first time living abroad. So I felt like I needed to determine who I am, and that was the beginning of me trying to find out more about my roots and trying to see things I’ve taken for granted through a different perspective. So, it was almost like I fell in love with Indonesia after being away and living in New York.
CH: It’s really encouraging to hear because the world is just getting more global every minute. The world is so connected now that you don’t necessarily need to live in these fashion capitals to be important. It’s really about carving your niche where you are and expressing that. It’s more about what works in your environment. I love looking at your work and picturing it in other landscapes—like in the streets of New York—and it feels even cooler. There’s definitely an edginess to your work that I enjoy.
“Succeeding in life is sometimes a protest to the status quo of what’s been happening as well.” – Chris Habana
TJ: Thank you so much. I try to keep the design as contemporary as possible because, ultimately, I want it to be worn by women everywhere—not just Indonesian women or a specific type of woman. That said, what about the political and cultural influences that shape your work? We’re living in intense times—there’s so much happening globally, especially in the U.S. How does that impact you as a creator?
CH: First of all, I’m an immigrant. Even though I was naturalised in the U.S., with how things are now, it feels like no one is safe. I worry about travelling abroad. We have an upcoming pop-up at Hankyu in Osaka this August, but I’m nervous about re-entering the U.S. It’s like every day in America, there’s something new in the news that feels threatening. My husband and I even talk about what it would take for us to leave—that “escape plan” conversation.
With all that’s happening, we wanted to do something meaningful for Pride Month. We’re collaborating with five creatives who work in our studio—all trans, non-binary, or gender non-conforming—and each will design a singular piece. These will be sold on our site, and the proceeds will go directly to them.
Our studio is queer-run, but for this, we’re stepping back so these voices can lead. The entire project, from design, styling, photography and modeling, will be led by them. What’s powerful is we didn’t need to look far; these people are already part of our community.
This is my response to the political moment. I don’t design for everyone. I design for queer people — they’re my audience, they’re who I speak to. If others connect, that’s great, but they’re not the focus. We always say: “They can do them, we’ll do us—and we’ll do it better.” As creators, we have the power to build worlds, to uplift. That’s what I care about, using our resources to give back to the people who feed us creatively and spiritually.
TJ: Oh my god, it’s almost like our country is mirroring what happened in the U.S. right now, with the same kind of loose cannon president, if I might say. But yeah, we’re trying to put our voice out there through everything—through our work, through demonstrations. I even go on demonstrations once or twice, because I think that’s the least we can do as citizens. But it is quite concerning for us for the future of the country.
CH: It’s so similar to the Philippines. I have gotten questions from people that feel like they want to do something, but they don’t know what or how to do it. And I’ll just be a successful immigrant and person of colour. Succeeding in life is sometimes a protest to the status quo of what’s been happening as well. So what are you working on right now?
TJ: We are producing our collection for home retailers here in Indonesia and we’re going to have a big launch next week, actually.
“I used to focus on going global, but now I appreciate staying independent and doing what I truly love and being able to express myself through my work.” – Toton Januar
CH: Oh my god. Are you prepared?
TJ:Yeah, I think so, but it’s a good stress to have. We’re also preparing for our annual collection that will be coming out maybe in September or October this year. I’m not taking on too many projects at the moment, I just want to have peace of mind with all that’s been going on in the world.
CH: I wish I could come and visit Indonesia. I’ve only been to the Philippines, China, and Japan. I feel like everyone in America is dreaming about the escape or an escape.
TJ: Yeah, you should! The reason I asked you about the condition in the U.S. is because I heard lots of naturalised citizens have problems coming back into the country after travelling.
CH: Maybe it’ll be a blessing if I get stuck in the Philippines (laughs). I feel like work-life balance is a big deal, and I’ve been trying to figure that out in New York. It’s easy to get caught up in the work cycle, doing it over and over, so having some balance is important.
Apart from our trans initiative—we’re calling it Reform—which is very specific to our work and our jewellery, there are a few other things happening as well. Fingers crossed, we just shipped out many pieces for the Cowboy Carter tour for Beyoncé, so let’s see what gets worn. And then there’s the MET Gala, and we’ve got our Reform endeavour for Pride Month toward the end of June.
I’m also hoping this might be the year I get to show a collection again. Fall 2023 was the last time I did a proper show, and I’m excited. Like I said, I only show when I feel like I’ve got something to say, or when the funding comes through. But fingers crossed—hopefully by September, we’ll be able to express something fully through a show. Maybe we’ll be showing the same time you are, who knows?
TJ: Very best of luck for that!
“We often hold ourselves back, which is a shame because we have everything here. We just need to be more expressive, create a safe environment for exploration, and nurture skills, knowledge, and passion.” – Toton Januar
CH: Yeah, I mean, with our studio, there seems to be a fork in the road: do I stay focused on jewellery and accessories, or go full force with costumes? But now I’m thinking there might be a third path—combining both, rewriting my own business model and keeping things intimate yet growing.
That’s how I’ve treated my whole career, I say yes to almost everything. I love exploring. My only guiding light is: what makes me happy? I’m consumed by this. If I’m going to keep doing this, I have to love it. So this third lane, where I can express myself—whether it’s subversive, punk, futuristic, queer, and still be able to collaborate with pop stars, film and TV costuming—lets me stretch different muscles than I do with jewellery. So we’ll see where it goes.
TJ: As for TOTON, the past couple of years have been pivotal for me. I used to focus on going global, but now I appreciate staying independent and doing what I truly love and being able to express myself through my work. Every day, I ask myself: Am I doing the right thing? Is my work meaningful? Does it matter? I want to move slowly but steadily, put my voice out there, and influence others to be better.
In Indonesia, we have so much potential in craft and culture, but we lack a combination of technical skill, knowledge, and taste. This gap is partly due to the environment and education system, but also a lack of freedom of expression compared to places like the U.S. or Europe. We often hold ourselves back, which is a shame because we have everything here. We just need to be more expressive, create a safe environment for exploration, and nurture skills, knowledge, and passion.
CH: You said it right there. The resources are here, but it’s about being confident enough to use them and shape something meaningful, no matter where you are.
TJ: Exactly. I think this is a challenge for many Southeast Asian talents right now. My dream is to create a collective force from this region, like Japan or Eastern Europe had in the past. We have the talent, but the right environment is missing to push through. And to connect! Maybe conversations like these could be a starting point for Southeast Asian talents to get together and exchange ideas.
CH: The only way to change is to start expressing it, little by little, and see where it leads. I really hope to come over one day. This was such a great talk!
TJ: Thank you Chris, likewise. I look forward to that, and I’ll be sure to keep in touch!
