This hip cloth has two designs in contrasting colours, divided by a diagonal line. This design is called pagi sore (morning-afternoon/early evening) and could be worn in two ways. To allow the motifs and the person to stand out, the dark or sore section of the hip cloth was worn during daytime. Vice versa the light – pagi – section served as an evening dress. For this batik cloth synthetic dyes were used. The main motifs on the lighter half consist of dancing peacocks and double wings on a background of small white flowers and foliage in pastel shades of pink, blue, and ochre. These pastel colours were very much favoured by Peranakan Chinese ladies. With its tail feathers the peacock represents beauty and dignity, both in Chinese and European symbolism. The double wings are called mirong (Jasper & Pirngadie 1927: 176) and is one of the larangan, the ‘forbidden’ batik patterns that were for the exclusive use of the rulers of the Central Javanese courts and their close relatives (Kerlogue 2004: 76, Veldhuisen & Heringa 1996: 49). The dark green section depicts large bouquets (buketan) in European style, in the same pastel shades as the background of the lighter half. For a lively effect a fluttering butterfly and a bird were added. In order to create a three dimensional effect of the flowers, different hues of pink, blue and ochre colour were used, combined with rows of white dots (Veldhuisen & Heringa 1996: 80-81). The origin of the cloth is indicated by the handwritten sign of (the workshop) of Oey Soe Tjoen (and his wife Kwee Tjoen Giok), a renowned batik craftsman from Kedungwuni, near Pekalongan. The name of the town, here written in the old spelling Kedoengwoeni, is followed by the number 104, referring to the address of the workshop, Jalan Raya 104. In some cases the complete address was stamped in block letters onto the white unwaxed border of the cloth (Kwa et al. 2009: 154). The couple used a restricted number of design templates (Lee 2014: 247). An almost identical cloth is in the A.E.D.T.A. batik collection (Geirnaert & Heringa 1989: ill. XXXXII, XXXXIIa, and XXXXIIb, p. 81), and another very similar cloth is in a private Indonesian collection (Kwa et al. 2009: 154). Owing to its combination of European, Javanese and Chinese design elements, the cloth would have appealed to (Indo-) Europeans, Peranakan Chinese as well as urban Indonesian ladies with modern taste (Geirnaert & Heringa 1989: 81).