MAY 4 — There was a time when the rising sun of Japan was the guiding light for Malaysia’s economic ambitions. The “Look East Policy,” inaugurated by Tun Dr Mahathir Mohamad in the early 1980s, was more than just a diplomatic slogan; it was a national ethos. It painted Japan not just as a trading partner, but as a civilisational model — a testament to what an Asian nation could achieve through discipline, hard work, and a unique brand of corporate capitalism.

Today, however, the landscape tells a different story. The billboards that once championed Sony and Mitsubishi now glow with the branding of Huawei, BYD, and Samsung. China has unquestionably become Malaysia’s dominant economic partner. The question is why this tectonic shift has occurred, and whether the Land of the Rising Sun can ever reclaim its former glory.

To understand Japan’s diminished role, one must first look at the stagnation of its own economy. The “Lost Decades” following the asset bubble burst in the early 1990s transformed Japan from a aggressive global investor into a cautious, risk-averse player. Japanese corporations, once eager to build sprawling manufacturing complexes in places like Shah Alam and Johor, became conservative. Their model, based on lifetime employment and consensus-based decision-making, was ill-suited for the breakneck speed of the digital age and the hyper-competitive landscape of the 21st century world.

While Japan was looking inward, China was aggressively looking outward. The 2010s saw Beijing’s Belt and Road Initiative (BRI) pour billions into Malaysian infrastructure. The pace was dizzying. Where a Japanese feasibility study might take three years, a Chinese state-owned enterprise could break ground in three months. This speed, coupled with a willingness to invest in massive, visible projects like the East Coast Rail Link (ECRL), captured the Malaysian imagination and filled a vacuum that Japanese caution had created.

The author argues that Japan’s influence in Malaysia has waned due to decades of economic stagnation and China’s rapid rise as a dominant regional investor, but that Tokyo can still regain relevance by focusing on high-tech collaboration, innovation partnerships, and a renewed form of cultural diplomacy suited to the demands of the 21st century. — Unsplash pic

The simple truth is that the “special relationship” with Japan was sustained by strong personal rapport at the top. As Dr Mahathir’s direct influence waned and a new generation of Malaysian leaders and consumers came of age, they felt no such nostalgia. They witnessed Japan’s slow-motion retreat from the region and simply looked elsewhere for the economic dynamism they craved.

Regaining its place will not be easy. The world has moved on, and a return to the 1980s is impossible. However, Japan’s decline is not irreversible. To reclaim its relevance, Tokyo must fundamentally change its strategy, moving from a model of general manufacturing to one of high-tech, high-value specialisation.

First, Japan must pivot from competing on volume to leading in niche excellence. While China dominates mass-market EV production, Japan holds the keys to the future of mobility: advanced batteries, lightweight materials, and the complex supply chain for the semiconductors that will power the next generation of smart cars. Instead of trying to sell the most cars, Japanese giants like Toyota and Panasonic should position themselves as the indispensable technological partners for Malaysia’s own automotive ambitions, particularly in the EV sector.

Second, Japan needs to rediscover its innovative edge through genuine collaboration. The old model was Japan teaching, and Malaysia learning. That era is over. The new model must be one of co-creation. Japan is a global leader in robotics, IoT, and green technology. Malaysia, with its industrial base and digital aspirations, is the perfect testbed for these innovations. Instead of just building factories, Japanese firms should establish joint R&D centres with Malaysian universities and startups to solve local problems — from smart agriculture in Sabah to flood mitigation technology in Kuala Lumpur.

Third, and perhaps most importantly, Japan must engage in a new form of cultural diplomacy. The “Look East” policy needs a 2.0 version. This isn’t about asking Malaysians to bow more deeply or work longer hours. It is about showcasing Japan’s soft power in the 21st century. This means leveraging its global dominance in anime, gaming, and design to build bridges with Malaysian youth. It means promoting tourism not just for shopping, but for educational exchanges in tech and the arts. It means making Japan seem fun, accessible, and futuristic again.

The narrative that Japan has permanently lost its place in Malaysia is not yet a foregone conclusion. Its economic footprint may have shrunk, but its reputation for quality, precision, and reliability remains intact. If Japan can leverage these assets with the urgency and adaptability of a challenger, rather than the complacency of an established power, it can carve out a new and vital role. The sun may have faded, but it has not yet set. Whether it rises again depends entirely on whether Japan is willing to look east once more — and see a partner, not just a pupil.  

* Professor Datuk Ahmad Ibrahim is affiliated with the Tan Sri Omar Centre for STI Policy Studies at UCSI University and is an Adjunct Professor at the Ungku Aziz Centre for Development Studies, Universiti Malaya. He can be reached at ahmadibrahim@ucsiuniversity.edu.my 

** This is the personal opinion of the writer or publication and does not necessarily represent the views of Malay Mail.

Until just the past few decades, textiles were generally created with only practical applications in mind. Although fiber and cloth in its myriad forms had been produced for millennia around the globe, fabrics were woven for either domestic or industrial use, and crafts such as knitting, weaving, basket- and net-making, and more were considered purely functional. Think clothing or decor. Even ornate medieval tapestries were conceived as utilitarian objects, used in stone buildings like churches and large homes to soften sounds and insulate against the cold.

Within the canon of Western art history, in particular, the hierarchy of fine art has long been quite definite: painting and sculpture were chief among mediums. Anything else fell under categories of preparatory processes, craft, or ornament. But in the mid-20th century, that delineation began to shift. Anni Albers, who taught at the Bauhaus and later Black Mountain College, was one of the first artists to approach weaving as both a craft and an art. She laid the foundations for later artists like Sheila Hicks, Magdalena Abakanowicz, Cecelia Vicuña, Faith Ringgold, and many more. Today, artists like Bisa Butler, Do Ho Suh, Nick Cave, and countless others continue to challenge boundaries and redefine the role of textiles in art.

A new exhibition at Saatchi Gallery takes a fresh look at how fiber has become a celebrated facet of contemporary art. Textile Art Redefined is curated by Helen Adams, founder of the platform Textile Curator. Vibrant colors and patterns infuse the show with a sense of joy and optimism, while the selection highlights the broad range of approaches to different materials, such as Ian Berry’s large-scale installation titled “Secret Garden,” which mimics Delft tiles and yet is made entirely of recycled denim. And Kenny Nguyen’s large-scale wall piece, made of thousands of colorful strips of silk, appears to undulate and swirl.

For some of these artists, like Argentinian duo Chiachio & Giannone and knit designer Kaffe Fassett—who continues to work alongside his long-term partner, designer Brandon Mably—the union of art and craft lends itself to a entire lifestyle built around fiber as a form of expression, brimming with color and patterns. Colossal readers may also recognize work by Anne von Freyburg, Signe Emdal, Deniz Kurdak, and Benjamin Shine, in addition to Caroline Burgess, Sara Impey, Simone Pheulpin, Jakkai Siributr, Magda Sayeg, and Jenni Dutton. “In an increasingly digital world, creating by hand has taken on a new appreciation,” says a statement.

Textile Art Redefined continues through May 10 in London. Adams is also the author of the new book Textile Fine Art, published by Laurence King.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article 15 Artists Explore the Potential of Fabric and Fiber in ‘Textile Art Redefined’ appeared first on Colossal.