According to all reports, rattan has become a rapidly growing interior design trend.
Ticking boxes for sustainability, style, and versatility, the rapidly spreading vine, abundant in tropical regions, has been on trend forecasters' radar for the past few years. And it's no longer just a budget-friendly and cheerful material commonly found in affordable homewares, but rather a highly designed luxury item.
-one of the oldest industries in Hong Kong, with origins dating back to ancient Egypt - inspired the inclusion of rattan in "Embracing Craft, Connecting Culture", an exhibition by the charitable organisation Crafts on Peel in Central.
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Two versions of the nostalgic peacock chair are available, one of which closely replicates the original design, while the other offers a modern reinterpretation of the classic style, evoking the visual effect of a bird's tail feathers through its flared back.
A pair of rattan and wood installations, in the shape of a dragon and a phoenix, embodying symbols that represent spiritual balance in Chinese culture.
Lai and Chan acquired their expertise in Taiwan and later refined their skills at Yue Kee Rattan Factory, which was established in Hong Kong in the 1950s and is now based in Xingning, Guangdong province.
"When Cecilia and Barnard returned to Hong Kong in 2024, they worked together to catalog the extensive design archives of Yue Kee at the company's warehouse in Tuen Mun. This effort enabled a side-by-side analysis of regional techniques, which ultimately guided the creation of their unique contemporary rattan art style," says Penelope Luk, creative director of Crafts on Peel.
The peacock chair originated in the Philippines during the early 20th century under American rule. It gained popularity in Hong Kong through various means, including local films and beauty pageants. "Initially, it became prominent as the celebratory seat for winners of the early Miss Hong Kong and Miss Exhibition pageants in the late 1960s and 70s. It became closely associated with the concepts of beauty and success," Luk explains. "Today, its legacy remains, as shown by the numerous peacock chair posts on Instagram, demonstrating a cross-generational appreciation that elevates it to the status of a cultural icon, representing a powerful combination of nostalgia and lasting allure."
For their understanding, Lai and Chan considered using "every kind of material".
We took the essence of the traditional design and updated some features to appeal to a new generation. Unlike classic peacock chairs, which are often heavily ornate, modern peacock chairs focus on simplicity. By highlighting understated beauty, the contemporary version blends seamlessly into modern decor. We also experimented with colors to showcase the chair's structural design, treating it like a work of art.
last year.
As a student of industrial design in 2004, Abdillah was perplexed by the view of rattan as a "cheap, outdated, poor quality" material - at least in his home country, Indonesia - a prejudice he attributes to the widespread availability of mass-produced synthetic rattan furniture from the 1980s.
The handcrafted nature of the vine, which is curved and molded by hand, makes each piece a unique, one-of-a-kind item, thereby increasing its exclusivity.
"I've visited the rattan forests, I've spoken to farmers who have to harvest [the vines] for several days or even weeks in quite difficult terrain, and that deserves more appreciation as well," he says.
When Abdillah established Studiohiji in 2014, he aimed to revive the centuries-old technique of rattan processing and modernize it for contemporary design. This vision to transform perceptions at home eventually gave Abdillah an international platform as a rising design talent in Southeast Asia. Since then, Studiohiji's creations have been showcased at design exhibitions from South Korea to Singapore, Japan to Italy, leading to a partnership with Italian furniture label Cappellini, launched during Milan Design Week in 2016.
This initiative aims to re-establish a connection between people and the natural world.
When exploring new uses for rattan, I aim to create pieces that truly showcase its natural characteristics," he says. "As a designer, this involves moving beyond superficial appearances to enhance the craftsmanship and quality that is particularly relevant to modern tastes.
Another example is the Kupu Kupu chair, a design inspired by the butterfly wings, which are considered symbols of freedom, beauty, and happiness in Asian culture. "In Indonesia, butterflies are often viewed as a blessing," says Abdillah. "This cultural impression led us to create a product that could 'fly' towards a better future."
Tjitrowirjo agrees that rattan has been viewed as an underappreciated material. "Rattan had its heyday in the 1960s, 70s, and 80s, when it was popular in Europe and America," he says. "The introduction of synthetic alternatives dealt the material a significant blow. This shift changed the expectations for furniture, particularly for outdoor use."
He acknowledges that synthetic rattan indeed offers greater resistance to damage from UV rays and water, as well as to mold.
The resurgence began around five to seven years ago," Tjitrowirjo says. "The market grew tired of plastic furniture and yearned for something more natural. Several iconic pieces from the 1950s and 1960s were reintroduced - including the Danish designer Nanna Ditzel's Egg chair, the Continuum armchair by Italian designer Gio Ponti and Giovanni Travasa's Palla, which helped bring a touch of the past's prestige back to rattan furniture.
Plastic homewares are generally discarded once they become damaged or worn out.
The "strong, intangible values" associated with rattan also serve as a catalyst for its resurgence.
Globalization has led to a uniformity and sameness in all consumable things, and society is now weary of that, according to Tjitrowirjo.
While alvinT also works with other materials, including wood, metal, and Andesite volcanic stone, "rattan is something we want to champion," says Tjitrowirjo, highlighting its cultural importance in Indonesia and its economic significance to indigenous communities.
The objective for designers is a contemporary understanding. "We do not aim to replicate what has been done previously," says Tjitrowirjo, "but to introduce a diverse viewpoint that will enhance rattan to its optimal place in the market."
Three recent Alvin pieces exemplify this aspiration: one is Jiwa, a shelf resembling a shrine, "reminding us that craftsmanship is deeply connected to spirituality"; another is the Dahan bench, which "appears somewhat like a branch, reminding people that providing a tree with water and sunlight allows it to thrive".
The third is alvinT's Ndare collection, which was completed last year in partnership with an indigenous community in Borneo and the social enterprise Handep.
The rattan strands used for this collection were carefully selected from the forest, hand processed, and then naturally dyed and woven," Tjitrowirjo explains, "much like a product that goes from farm to table.
"Embracing Craft, Connecting Culture" at Crafts on Peel, 11 Peel Street, Central, until April 5. By appointment only. Visit craftsonpeel.com
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