Klamby Hijabs: Scarf Designs and Indonesian Collections
Klamby is an Indonesian label whose name, according to its official London Fashion Week profile, comes from the Javanese word for clothes. The profile identifies Nadine Gaus as its founder and dates its beginnings on an ecommerce platform to 2012. Its stated design approach combines Indonesian motifs with contemporary shapes, embroidery, embellishment and a monogram developed in laser-cut form.
The profile also describes materials chosen for a light, flowing appearance. This places the scarf within a wider clothing vocabulary: a motif can appear as print, decoration or a cut-out surface. The named collections below give those possibilities more precise forms. British Fashion Council, London Fashion Week designer profile.
Amani’s guide to comparing modest clothing brands covers garment specifications and purchasing decisions.
Scarf patterns and colour
Monogram: changing motif scale
At the July 2023 Scarf Festival, Nadine described a deliberate expansion of Klamby’s scarf offering after an earlier emphasis on clothing. The Monogram launch made that shift visible through one hundred colours, each offered with mini, medium and grande versions of the motif. Together, these produced three hundred variations.
The distinction is the scale of the printed monogram: kumparan’s report explicitly identifies three motif sizes. Those names should not be read as three measurements of the cloth itself. Nadine connected the extensive palette to customers requesting slightly darker or lighter shades. IDN Times described several different blues within the range. Variation therefore came from adjusting the same visual signature in two ways, its size and its colour, rather than inventing a new motif for every scarf. IDN Times, 5 July 2023; kumparanWOMAN, 7 July 2023.
Aurelie: a brief without flowers
Aurel Hermansyah’s collaboration began with a specific request: she did not want a floral scarf. At the July 2023 launch, she also explained that the colours needed to be her choices. Nadine’s task was to translate that personal brief into an image that would work on cloth.
The resulting Aurelie Scarf used ship and coral elements, with the film Titanic among the stated references. Coral took the place usually occupied by flowers, changing the subject of the decoration while retaining an illustrated approach. Wolipop recorded twelve colours and a square format measuring 110 × 110 cm. Those details make this a distinct design collaboration: the wearer’s preferences affected the motif, the palette and the named scarf, rather than simply supplying a face for its promotion. Wolipop, 15 July 2023.
Archipelago: maps, ships and spices
The Archipelago Scarf announced in August 2023 assembled a different set of images: ships, a map of Indonesia and references to spices. Its release was framed around Indonesia’s seventy-eighth Independence anniversary, with fifteen colours announced.
Nadine described the scarf as a way of expressing national identity. Visually, the map establishes a geographical subject, while ships and spices add recognisable objects to the composition. The announcement placed this scarf alongside Klamby’s signature blouses, tunics and dresses, whose patterns were developed by the label’s design team. Archipelago gave that approach a named headwear piece with its own illustrated subject and announced palette. Its cultural message was the maker’s stated intention for the design, rather than a claim about what every wearer would feel. Fortune Indonesia, 12 August 2023.
Pinisi: a maritime print
An earlier scarf shows how tightly a collection brief could be defined. In January 2021, Klamby announced Pinisi Scarf as the opening release of its Sulawesi Series. The three specified elements were a ship, fish scales and waves: a vessel, a repeated surface pattern and a suggestion of moving water.
SWA’s contemporary account gave 23 January as the planned launch and described an intended fundraising contribution from its first sales batch. The print’s maritime subject is documented; the report is not evidence of the later amount raised or the delivery of assistance. SWA, 22 January 2021.
Scarves within coordinated collections
Dayana: several forms of coverage
Dayana, reported in September 2024, placed scarves directly alongside the clothing range. Klamby’s representative Sandy Hendra Budiman listed regular and fuller hijab versions together with blouses, dresses and tunics. The report described polyester combined with organza, giving a more specific material account than a general promise of softness.
The collection drew on East Nusa Tenggara in its design brief. Sandy identified red sandalwood flowers, lotus imagery and weaving-inspired embellishment. The report also named flamboyant, eucalyptus and rosella among the collection’s botanical references. Its accompanying account connected Dayana with Flobamora and the theme of longing for home. These are the label’s chosen references, expressed across different garment forms. The regular and fuller scarf options matter because the same collection identity was offered through more than one head-covering format, alongside the dresses and separates. Wolipop, 17 September 2024.
Malqaf: fuller scarves and family outfits
For Eid al-Adha 2024, the Malqaf collection included fuller scarves within a family clothing range. Sandy described blouses, tunics and dresses, with standing-collar shirts for men. Polyester was the reported material, and the palette included pastels, earth tones and monochrome options.
The collection’s name referred to windcatcher architecture in the maker’s brief. This was a source of design inspiration, not a claim that the clothes provided an architectural cooling effect. The same interview recorded Klamby’s gradual move towards Muslimwear and its intention to continue developing fuller scarves. Matching children’s motifs were described as a future step. The distinction between the presented pieces and the next planned development keeps this account tied to the June 2024 collection, rather than treating an announcement as a permanent product list. Wolipop, 11 June 2024.
Mashrabiya: pleats and quieter colour
Mashrabiya’s 2022 range brought scarves together with dresses, tunics and pleated pieces. Muhammad Ridho Jufri described plain pieces and colour gradations, while Nadine explained that she had favoured looser dresses and fewer trousers. The resulting collection offered a change in silhouette as well as surface decoration.
Palembang and Dubai were the named inspirations in their account. The reported materials included printed polyester, chiffon silk, satin and cotton, rather than one fabric for every piece. One separately commissioned, hand-embroidered outfit was described as taking about a month to make. Nadine also described a move away from the previous bold palette towards more restrained colour. Headwear was one component of a collection whose dresses, pleats and colour choices had been reconsidered together for that season. Wolipop, 2 April 2022.
Nala: scarves across a family range
Nala’s January 2026 announcement placed scarves within a broad Eid range of sets, dresses, blouses, tunics and prayer outfits. The Central Java and Yogyakarta brief was developed into eight series, with Diasmara, Hartasiva, Isaura and Klanika among those named in the report. Soft colours and stronger shades were both included.
Representative Finaldi Nurakbar explained a layered approach intended to allow more than one arrangement from a garment. A musical film accompanied the collection announcement, while the clothes ranged from individual separates to complete prayer outfits. Several garment forms, coordinated family dressing and different colour intensities gave the scarf a place within a larger set of choices. Finaldi connected the layered forms with customers’ own dressing preferences, so his description emphasised choice within the collection. The possibility of different arrangements was the stated design intention. Wolipop, 8 January 2026.
The sources of collection motifs
Colonial: images across clothes and accessories
At Jakarta Fashion Week in October 2019, Klamby’s Colonial Series used spice grains, islands and references to Indonesian kingdoms in its prints and details. The organiser’s report describes these as the collection’s narrative, rather than a complete historical account.
The surrounding accessories extended that vocabulary. Leciel Studio supplied pieces drawing on spices, island maps, carving references and flowers, including brooches, necklaces, belts and headbands. Gold-plated finishes and synthetic stones added a different surface to the printed clothes. Vaia’s shoes used beige, white and pastel pink. This is a documented example of coordination through related imagery and selected finishes: the collection’s story appeared in several parts of the outfit, with accessories participating in the design rather than being an unrelated addition. Jakarta Fashion Week, 26 October 2019.
2020: islands, flowers and architecture
The label’s 2020 accounts describe several ways of changing a collection’s subject. Kepulauan combined map and spice references in five colour combinations across blouses, outerwear, tunics and dresses. Harum turned to four named flowers: rafflesia, moth orchid, white jasmine and cempaka. Gadang’s starting point was architecture.
The Bali Series announced at the end of that year used frangipani, majegau and Bali-myna imagery. Nadine described plans to extend its blouses and tunics into pyjamas, prayer clothing and prayer mats. The useful distinction is between the motif brief and the object carrying it. A series could introduce another subject for the print, another clothing form, or both. These contemporary announcements document that range without establishing broader cultural meanings or the later availability of every planned piece. Suara, 22 December 2020; Fimela, 23 December 2020.
Anniversary: three different visual briefs
Klamby’s thirteenth-anniversary presentation in October 2025 supplied three more specific design briefs. Luminara combined Truntum and Nitik references with thirteen roses, which the label connected to friendship and gratitude. Romely drew on bromeliads and Balinese ceramics, while Floria referred to the Tomohon International Flower Festival.
In the label’s account, Truntum referred to lasting affection and Nitik to steadfastness. These interpretations belong to the collection’s own story. A textile reference, a flower, a ceramic object and a named event supplied distinct starting points for its designers. The report describes the team first establishing a campaign message, then choosing colour and silhouette before developing the motifs. Luminara, Romely and Floria show how different sources could enter that process without being reduced to a single generic floral theme. Wolipop, 20 October 2025.
Signature: motif and silhouette together
The September 2023 Signature presentation developed Sambas, Lagosi and Tapis references within outfits featuring puffed sleeves, pleats and layering. Harper’s Bazaar described light blue, brown and white alongside stronger green, navy, pink and red. Flora and fauna imagery joined the textile-inspired motifs.
Statement necklaces and long earrings added further detail to the presented ensembles. The account therefore describes more than the name of a regional reference: it records colour, volume and ornament around the pattern. It does not establish that every garment was made from traditionally woven cloth. Harper’s Bazaar Indonesia, 4 September 2023.
Amani’s wider account of Indonesian clothing and textile traditions explores regional dress beyond a single label, while this presentation shows Klamby’s particular interpretation.
Clothes around the scarf
Sulawesi: a planned daily-to-evening range
Klamby’s 2021 Sulawesi preview described forty-two daily and evening looks across nine signature series, with dresses, tunics, skirts and trousers. Nadine explained the loose silhouettes and a palette spanning pastel, earth and bold colours. The reported material choices differed between the women’s, men’s and children’s ranges, including silk, Arezo and cotton respectively.
The collection was presented through a fictional character, Malika, who dreamed of travelling through Sulawesi. That staged story connected underwater, forest, ship and fort settings; it was not a real customer’s travel account. The clothing preview also included family sets with different patterns for men. Coordination did not mean putting every person into the same cut or print: the planned range allowed differences within its common collection theme. The preview scheduled the release for Eid in May 2021. Wolipop, 5 March 2021.
Chamatarra: a styled Ramadan portfolio
Harper’s Bazaar’s own Chamatarra portfolio in February 2023 provides a close account of the clothing around Klamby’s patterns. Siak and Batanghari references appeared with soft and bold colours; bright outfits were paired with white, while a coordinated couple’s look used light blue.
The accompanying descriptions identify gathered sleeves, ruffles at the waist and simple children’s dresses enlivened with sequins. One blue dress combined material described as silk with white organza and floral decoration, finished with a bag and beaded necklace. The light-blue couple’s ensembles carried floral, animal and weaving-inspired motifs described as predominantly Sumatran. These were editorial outfits shaped by fashion director Michael Pondaag and photographed by Saeffie Adjie Badas. Sleeve volume, waist details and accessories changed the emphasis within that specifically styled presentation. Harper’s Bazaar Indonesia, 25 February 2023.
Selayar: raised flowers and cut-out surfaces
Selayar’s August 2022 presentation moved between printed flowers, raised decoration and openings in the fabric. A soft-pink floral dress opened the show. Another outfit paired a yellow blazer with sewn three-dimensional flowers and laser-cut trousers, making texture part of the design as well as colour.
Other looks included puffed sleeves with a lace-like floral appearance, navy embellished separates and a beige gown with a beaded neckline. Lime, fuchsia and navy sat alongside light grey and cream. The navy top had an ornamented front; decorated shoes and a pearl-coloured bag echoed its beads. A yellow tulle dress added another texture, with an orange necklace and matching earrings. The surfaces combined flat floral print, raised flowers, beading and the openings made by cutting. Harper’s Bazaar Indonesia, 8 August 2022.
London: the monogram becomes a cut-out
Ria Lirungan’s eyewitness account of Klamby’s September 2022 London show describes forty-eight looks under The Tea Party theme. Roughly half were reported to use Garut woven material. Fuchsia, lime, yellow and blue formed a vivid palette, while two-piece outfits featured prominently.
The monogram appeared in laser-cut jackets, trousers and A-line skirts. Lirungan singled out a cream top and skirt, and recorded Patricia Gouw’s closing black dress with floral appliqué. Nadine explained that developing the monogram pattern in this form had been technically demanding. The report names Tenun Bulu Sutra Garut and describes work on non-mechanised looms. Woven material and cut-out surfaces therefore appeared within the same presentation, while the monogram gave the cream separates a recognisable identity through the pattern of their openings. Harper’s Bazaar Indonesia, 22 September 2022.
Tantri Namirah: a stronger palette
The November 2022 Tantri Namirah collaboration centred on loose shirts, outerwear, trousers and skirts in fuchsia, orange and blue. In Republika’s launch interview, Nadine described the challenge of combining Tantri’s preference for strong colour with Klamby’s existing identity.
Tantri said her ideas had been heard during the design process. The collection’s references included the colours of Notting Hill buildings and climbing plants, alongside the label’s Garut inspiration. Republika placed it within Klamby’s London Series; Tantri had attended the London presentation as one of its muses. The collaboration gave her another role, influencing the palette and print brief of the clothes themselves. Her preference for strong colour was carried into named garment forms, while Nadine’s account described the work of bringing the two design identities together. Republika, 27 November 2022.
Archipelago and Privé: coordinated occasionwear
Dewi’s February 2024 account distinguishes the floral prints of Archipelago from the simpler occasion silhouettes of Privé. The latter used loose and A-line shapes, soft or neutral colours and beaded detail. The difference was not merely a new series name: pattern and garment outline carried different amounts of the visual interest.
The same presentation included men’s shirts in white, blue and grape, with short and long sleeves, and coordinated family clothing in grape tones. Similar motifs and colour connected the pieces without requiring identical garments for adults and children. Dewi explicitly included grandparents within the family range. This gives the scarf wearer a concrete view of the collection context: coordination could extend across several generations, using related colours and patterns while keeping different clothing forms for the people involved. Dewi, 8 February 2024.
Gown: a separately announced formal line
A month later, Klamby described a new Gown line for parties and weddings. Ridho said the idea followed requests from people who wanted clothes for particular events or photo shoots after the earlier Privé range. Sandy explained the intended audience as hijab wearers looking for more covered formal dresses.
The reported designs used princess-style cuts, restrained ruffles and gold or silver decorative details. The line extended Klamby’s clothing into a more formal setting, with specific requests for covered party and pre-wedding outfits helping to shape its purpose. Ridho also discussed a possible rental option. That was a proposal recorded in March 2024, rather than confirmation of a current service. Wolipop, 7 March 2024.
Scarves in complete outfits
Pesona: matching patterned squares
The August 2026 Pesona presentation included square hijabs with patterns coordinated to the clothing. Loose tops, outerwear and flowing dresses appeared in soft blue, grey and maroon, with bow collars and pleats. Neutral structured bags provided another, more restrained element within the outfits.
Klamby identified Bunga Bintang songket as a reference for Saujana, and Kilau Benang Emas for Bestari. These names describe the collection’s design sources. Zainab Salsabila also outlined a proposed change for September: motifs would be concentrated in one area instead of filling the garment as extensively as in August. That dated proposal is useful for understanding the designer’s thinking about pattern placement; it is not confirmation that every later collection followed it. The documented August scarf and clothing combinations stand on their own. Wolipop, 26 August 2026.
PIFW 2025: the scarf changes position
Asnida Riani’s eyewitness report from Klamby’s October 2025 presentation describes scarves doing more than completing a neckline. One outfit used two matching scarves: one as the hijab, the other extending down one side of the body like a cape. Elsewhere, a scarf was tied at the waist with neutral clothes and a belt.
The surrounding clothes included dark two-tone shirts, straight trousers, long dresses and outerwear with fine floral motifs. A later purple outfit paired a shirt with a long, layered organza skirt. Zainab Salsabila also described revising blouse cuts within familiar collection themes. These specific runway arrangements show how the same type of accessory can repeat a print at the head, extend it down the body or concentrate it at the waist. Liputan6, 5 October 2025.