Meet the ceramic queen of Bali, who transformed Jenggala into a household name
Taking over Jenggala’s top position in a time of crisis, Ade Waworuntu managed to turn her family’s company into an iconic ceramics brand used in prestigious international gatherings as well as private residences.
Ade Waworuntu took the helm of her family's ceramics company after the loss of her father and his business partner, eventually turning the company into an iconic name. (Photo: Rio Helmi)
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If you happen to be staying at Amanzoe in Greece, attending a private event at Rockefeller Center’s Rainbow Room, or visiting the residence of Spanish singer Julio Iglesias, you might come across one or two of Jenggala’s tableware. This iconic Balinese ceramic brand, which celebrates its golden jubilee this year, has a diverse set of admirers from around the globe.
“Some of our clients have been with us for over 10, or maybe 20 years,” said Ade Waworuntu when we met over breakfast at her family hotel, Tandjung Sari in Sanur, east of Bali. On our table were bowls, plates and mugs made by – needless to say – Jenggala. Not far from where we sat, turquoise ceramic tiles from the brand’s early days line the pool and villa walls. “It’s always good to see our customers keep coming back; it shows that we are doing something right.”
Waworuntu, now in her late 60s with three daughters and two grandchildren, is the president director of Jenggala. “I don’t really feel comfortable using the title, actually,” she refuted. “I prefer to be called ‘ibu’ (mother). Because that’s what I am: the ibu for the people working at the company.”
Jenggala, named after the ancient kingdom that once ruled part of Java, was founded in 1976 by Waworuntu’s father, Wija Waworuntu, together with New Zealand artist Brent Hesselyn. The original pottery barn was tucked behind Wija’s house in Sanur, and their first customer was, naturally, Tandjung Sari. At the time, Indonesia had only a handful of ceramic companies, and in Bali, Jenggala was a pioneer in an otherwise lonesome industry.
But nonetheless, it was a business with promising prospects. During the 1970s, tourism was booming in Bali. The same year Jenggala was founded, Bali hosted the first ASEAN Summit. A few years earlier, the international airport was officiated. With new hotels, restaurants and meeting rooms opening on the island, Jenggala soon established itself as a leading local tableware supplier in Indonesia’s tourism hotspot.
“Grand Hyatt Nusa Dua was our first big client,” Waworuntu reminisced. “And we were not only supplying tableware. The hotel ordered many things, including lamps, wooden decorations and woven baskets. That was the time when we catered to a wide range of interior pieces.”
Waworuntu took over Jenggala’s top seat after a series of unfortunate events. Her father passed away in 2001. Hesselyn, the company’s artistic mastermind, followed the next year. In the middle of organisational turbulence, the family urgently needed to fill in the leadership vacancy and they put their bet on Waworuntu.
The appointment did not come as a surprise, though. Compared to her nine siblings, Waworuntu was the only one that showed genuine interest in ceramics. During her teenage years, she loved spending time with clay at the studio. When she was living overseas, she took a few ceramic courses, including lessons at the George Washington University and University of Alaska Anchorage. “I still remember the first ceramic I made,” she recalled.
However, Waworuntu came on board at a difficult time. In 2002, just as she was beginning to grasp the company’s day-to-day operations, Bali was rocked by a devastating terrorist bombing. The tourism sector collapsed almost instantly, and businesses were plunged into crisis. Orders came to a halt. As the new head of a ceramic company, Waworuntu’s first major test was not boosting sales, but leading through a crisis. She had to reassure her employees and clients that there was, indeed, light at the end of the tunnel.
“We are lucky that we’ve always had such a great team,” Waworuntu said as she looked back on the gloomy days. “Some of our employees have been working for us for decades. My job is always to show them that my family would always be committed to protect them and the future of the company.”
Her commitment paid off. Waworuntu managed to pass her first test. Under her leadership, Jenggala grew its business footprint strongly and gradually evolved into one the most internationally established Balinese brands, along with big names like jewellery company John Hardy and resort wear line Biasa. “It was a tough time,” Ade continued. “But I was blessed to receive relentless support from our business partners and consultants, and of course my family and employees. I couldn’t have done it without them.”
Jenggala currently employs around 150 people and produces approximately 20,000 pieces of fine ceramics each month. The business landscape has grown increasingly competitive as new players enter the lucrative industry, yet Jenggala tableware can still be found in luxury hotels and restaurants. During the 2022 G20 Bali Summit, Waworuntu was commissioned to create a custom series to serve some of the world’s most powerful leaders and delegates.
“But we are still a small player,” Waworuntu said modestly, describing her company’s place on the global ceramics map as she showed me around Jenggala’s production site in Jimbaran, southern Bali. “Some large companies operate on a full factory scale, producing ceramics with automated machinery 24/7. Jenggala is not like that, and will never be.”
The Jimbaran site was opened in 1999 to replace the original Sanur studio, which was no longer adequate to meet growing demand. From the outside, its grand structure could easily be mistaken for a hotel. Inside, however, the 15,000 sq m facility houses a vast production floor, along with a showroom featuring limited-edition ceramics created in collaboration with local and international artists.
Not long ago, Yogyakarta-based artist Mulyana held a residency here, producing a unique hand-painted collection featuring his signature monster characters. “Our production site looks big, indeed, but it’s small compared to other major ceramic makers,” Waworuntu said. “That’s why we prefer to call it a workshop rather than a factory.”
Waworuntu knows her way around the site. Dressed in resort wear with a Nehru collar and batik scarf, she casually moved from one department to another, talking to senior artists, chit chatting about family affairs. She has a deep understanding of every aspect of the production, from drawing to moulding, heating and glazing. “You see this sculpture,” Waworuntu quipped as she held up a white mug decorated with colourful sea coral ornaments, part of a series created to support the Coral Triangle Center. “All of the details are made by hand. Even the mug holders are still being attached by hand.”
Despite all the modern machinery and tools in the workshop, Jenggala still relies heavily on manual craftsmanship. From day one, each design has taken inspiration from Indonesia’s nature and culture. The design team constantly travels to different corners of Bali and beyond to look for stories. The latest Uwi Collection for example, was inspired by a lady who revived a vanishing traditional staple in Timor Island in the eastern part of Indonesia.
Once the design is finalised and the prototype moulded, the manufacturing phase involves assembly by skillful local artisans. The whole process results in tableware that embodies the famous Japanese concept known as "wabi-sabi". There is beauty in imperfection and no piece is exactly the same.
“Every piece that we make lies in between tableware, craft, and art. I like to call it functional art,” said Waworuntu. “This is the heart of Jenggala. And this is also the reason why we will never be a factory that produces massive amounts of ceramics on a daily basis. Afterall, we are in Bali, which has developed a strong culture for handicraft.”
The craftsmanship is what essentially differentiates Jenggala from its competitors. In a single collection, every item might look similar, but if you examine closer, you’ll discover a distinctive human touch and artistic variation in terms of colour gradation and ornamental details. “Every piece is always nice just to be seen,” said Wisnu Darmawan, a movie producer who has developed a personal affection for Indonesian ceramics. In his home, he has around 500 pieces of Jenggala – and counting – which he has been collecting since the 1990s. “What I also love about Jenggala is its classic, timeless design.”
How Darmawan is able to build an impressive collection of Jenggala ceramics has something to do with Waworuntu’s sales strategy. After she took over the company, she saw an opportunity to market Jenggala to wider end users by penetrating the retail sector. Waworuntu and her team developed an online B2C platform, selling various items through the company’s official website and third-party e-commerce platforms, making the products easily accessible to larger segments. “We would like to see Jenggala be available in private residences, not just hotels or restaurants,” Waworuntu explained.
The market has been responding well. According to the company’s sales report, B2C currently accounts for around 70 per cent of revenue. Initially focused solely on custom orders for large properties, Jenggala has since evolved into a major retailer of handcrafted tableware.
“Now, every time I dine at a restaurant or at someone else’s home, I always peek at the bottom of each plate or cup just to check if it’s Jenggala,” Waworuntu shared with a smile. “If it is, that’s my happiest moment.”
