Towards the end of the 19th century, the kebaya became more form-fitting. Bands of lace, embroidered and appliquéd motifs, and rows of small pin-tucks were added to kebayas, which were made with the finest cottons, linens, and silks. Dutch women's journals advised that a lady living in the colonies required three dozen kebayas and at least a dozen sarongs. Kebayas were designed to be worn during the day or night, the latter being less elaborate. western influences in batik Belanda included art nouveau. In this sarong, art nouveau arabesques swirl around traditional batik lar motifs, the wings of the mythical Garuda. Asian elements were reintroduced through the international craze for 'oriental' design. Pekalongan in north Java was the base of many women batik-makers. However, by the 1920s only a few workshops remained, and the Second World War put an end to batik Belanda.