The pouring rain over Jakarta’s Old Town didn’t dampen the post-date Lunar New Year celebration hosted by Indonesia’s Ministry of Tourism and the city’s provincial government on Monday, 17 February. Taking place at House of Tugu—a 17th-century mansion turned hotel—‘Wisdom in the Old Town’ explored the influence of Chinese culture in Indonesia through a fashion show and presentation featuring works by acclaimed designers Sebastian Gunawan, Adrian Gan and Rinaldy Yunardi.
“The influence of Chinese culture has become an inextricable part of the Indonesian identity, and it has shaped our cultural heritage through centuries of exchange and assimilation. This event is a celebration of that rich history,” remarked Tourism Minister Widiyanti Putri Wardhana as a prelude to the show, welcoming the star-studded audience that spanned local movie stars to foreign ambassadors.
First on the runway was an all-white ensemble by Sebastian Gunawan, featuring a structured, short-sleeved cropped jacket adorned with intricate floral embellishment and a matching high-waisted mini skirt. Beneath, a pair of flowing wide-leg trousers introduced a sense of movement, shifting gracefully as the model walked. While there’s a clear nod to Chinese influences throughout the collection, contemporary elements—like soft draping and high slits revealing pleated skirts—keep it fresh, as if they belong right in the closet of modern women.
“For this show, I keep my collection very simple and also modern, drawing from the Old Town’s history as a hub where different cultures—from Chinese, Betawi to Dutch—came together for the first time,” the renowned designer later said during the press conference. “This phenomenon is a mark of how the world is ever-changing and, as a result, fashion too never stays the same, adapting to each era and economic condition.”
If Sebastian Gunawan’s designs spoke to the passage of time, Adrian Gan’s collection, whether intentionally or not, is a deliberate look backwards, reviving nostalgic silhouettes and craftsmanship that evoke the grandeur of past centuries.
A sheer skirt is paired with a high-necked structured top, its silhouette softened by drop shoulders and billowing sleeves. Elsewhere, a fitted deep red and bright gold dress references iconic symbols of China’s imperial legacy, complemented by a flowing outer robe worn over the shoulders. A modern interpretation of the liangbatou headdress, and the wooden, elevated ‘flowerpot’ shoes complete the look, while the model’s regal expression reinforces the impression of vaunted royalty.
Inspired by the centuries-old ornaments that crowd the hotel’s maze-like interior, Adrian Gan’s collection arrived as a reminder that the venue—just as much as the show—was also a highlight of the event, without which the show’s narrative wouldn’t have been complete.
The building has been a silent witness to centuries of Chinese influence in the Old Town and even the nation—from the eccentric 17th-century merchant that gave its famous moniker ‘The Forbidden House of Batavia’; the ill-fated Kapitan Nie Hoe Kong of Dutch East Indies’ Chinese council, Kong Koan; to the early 20th-century tycoon Oei Tiong Ham whose descendants now oversee the management of the hotel and its historical collections, which span Prince Diponegoro’s genuine tree-bark suitcase from 1834 to Charlie Chaplin’s bigger than lifesize portrait.
Amidst this near-frenzy of historically significant memorabilia inside House of Tugu’s interconnected rooms and hallways—where the past felt more present than the hubbub of rainy day traffic right outside, let alone the cries of student demonstrators protesting President Prabowo’s policies some kilometres away downtown—the intricate accessories crafted by Rinaldy Yunardi found their home, appearing as if they had always been part of the mansion’s collection.
Perhaps it was their maximalist style, showcasing tiaras and purses to hand fans made of golden wreaths, red rubies and glistening mother of pearls—but it’s likely because these accessories also drew direct influences from the acculturation of Chinese culture in the Old Town. Blue dragons met golden phoenixes while a tiara burst with flower stalks made of silver, the latter appearing like a Betawi bride’s headdress.
During her opening speech, the minister shared that ‘Wisdom in the Old Town’ was also part of the ministry’s initiative and show of commitment to revive the tourism sector in Jakarta’s storied old quarters, anticipating the city’s 500th birthday two years from now and also the extension of the MRT line into the area, projected for 2029.
The intention is admirable, offering a sense of hope for a district often sidelined by the city’s rapid development—though whether the project will move forward remains to be seen. At the very least, it sheds light on the often-overlooked aspects of the city’s past, revealing one of the many cultural diversities that many may not have expected or fully recognised, even as it continues to shape the present.
