A welcome glimpse of fashion reality in Spring shows<\/p>\n
Text and photos By Dini S. Djalal<\/p>\n
JAKARTA (JP): With busy work-schedules which allow little time
\nfor the gym, the average woman is an American size 8. She eats
\nwhatever is available when she has the time, and dresses for
\ncomfort and convenience.<\/p>\n
Why, then, is so much of fashion wearable only for rake-thin
\nwaifs on a diet of night-clubbing?<\/p>\n
Among those who better understand the practical needs of
\nmodern women are the industry's few female designers. Donna
\nKaran, America's foremost female designer, maintains that she
\ndesigns chiefly to supplement her wardrobe with basic pieces,
\nsuch as the bodysuit and the simple black cardigan, which she
\ncould not find elsewhere. To Karan, understatement is key, and
\nher palette rarely veers from shades of red, beige, and gray.<\/p>\n
In Indonesia, fashion is often subservient to whimsy. Ghea
\nSukarya, one of the handful of female designers, has lately
\nfollowed in Karan's footsteps in assembling monochrome garments
\n-- a far cry from her vibrant tie-dyed ensembles of the mid-
\n1980s. Others remain static in the ethnic mode, designing layer
\nafter layer of busy colorful prints copied from the pages of
\nanthropological coffee-table books.<\/p>\n
German-designer Betty Barclay's fashion show last week, held
\nat the Grand Hyatt Jakarta, displayed not so much ethic prints
\nbut roomy outfits designed for women with healthy appetites.
\nSadly, the near-anorexic models at the show nearly drowned in so
\nmuch clothing -- yet another example of the divide between the
\nfashion world and real life.<\/p>\n
Barclay's show was pleasant, but not riveting. The most
\nprominent silhouette was that of the boxy viscose Hawaiian shirt,
\nworn atop skirts and trousers of all lengths and shapes. Colors
\nwere also of the holiday-variety: bright yellows, reds, nautical
\nnavy. The flowing waistcoats had adjustable fasteners --
\npresumably to loosen after a large meal. The kindest analogy to
\nmind is that of Brenda (of TV show Beverly Hills 90210) preparing
\nfor the maternity ward.<\/p>\n
The evening dresses were more flattering, but still cut with a
\nconservative hand. The most original ensemble was a short 40-
\nstyle fitted dress with asymmetrical tiers. In a sheer flowered
\nprint, it was a bold and sexy statement. However, the sequined or
\nlace knee-length gowns (in black, white, or red), even the long
\nchiffon shift with crushed bodice and slinky scarf, were
\nconventional wear for the opera.<\/p>\n
Handcrafted detailing<\/p>\n
Earlier this month Nadya, an American designer based in Bali,
\nheld a rare fashion show during the American Arts Festival.<\/p>\n
Since her arrival in Bali in 1978, Nadya has created clothing
\nutilizing the archipelago's traditional handicrafts: batik, ikat
\nand embroidery. Were it not for the ingenuity of her motif-mixing
\nand the exquisite detailing of the handmade fabrics, Nadya's
\nclothes would not be unlike the dozens of \"ethnic\" collections
\nfound on the third floor of Blok M's Pasaraya.<\/p>\n
As importantly, Nadya's clothes are designed with imperfect
\nbodies in mind. Many of the pieces have adjustable string-
\nfasteners or movable buttons. It is refreshing to find a designer
\nwithout fascist notions of body type.<\/p>\n
Of course, designs with full-bodied figures in mind run the
\ndanger of looking dowdy. Generously-cut shirts, coats, and
\njackets provide comfort but neglect the curves of a woman. Nadya
\noften counters this with a matching catsuit or leggings
\nunderneath. Yet wearing skintight lycra is neither advisable for
\na humid Metro Mini bus journey or a stroll amongst the city's
\ncountless catcallers. An assortment of long flowing sundresses
\nwere paraded -- breezy vacation-wear for conservative matrons
\nplanning to go gardening back home in the same outfits.<\/p>\n
What holds the audience's attention are not the silhouettes
\nbut rather the gleam and sheen of the fabrics.<\/p>\n
There were pointilistic batik painting on purple silk,
\niridescent lilac and cream synthetics, breathtaking patchwork and
\npainting in traditional Balinese or batik designs. The best
\npieces are the reversible A-line floor-length robes. One side in
\nbright shiny colors and the other side in more subdued tones.
\nUnfortunately our perpetual summer makes coat-dressing
\nimpractical.<\/p>\n
Otherwise, however, practicality seems to guide Nadya's
\nesthetics. Unlike at the Betty Barclay show, many non-models of
\nall body types were featured in the show, as if to demonstrate
\nthat these are real clothes to be worn by real people. This was a
\nvery clever move, as most of us know all to well the impulse to
\nbuy clothing which looks great on a mannequin but not so great in
\nthe harsh light of our own closet. Fashion may feed on glamour
\nfor inspiration, but ultimately it is the customer who must bear
\nthe brunt of bad jokes.<\/p>\n
Unusual<\/p>\n
Nadya's \"ethnic\" clothing may now seem unusual in the light of
\nincreased tourism and affluence in the country. Yet Nadya is
\nquick to point out that she and her 125 artisans have been
\nworking together to promote local handicrafts for at least ten
\nyears, and preceded the boom in \"traditional culture\".<\/p>\n
\"When I first started, it wasn't like it is now,\" explained
\nNadya. \"Now there is large-scale production, but before it was a
\nstruggle just to get the same blue tint twice,\" she said.<\/p>\n
Those struggling years are over. In 1987, Nadya received a
\nDesigner of the Year Award from the Contemporary Art Museum of
\nChicago, her home-town. Her twice-yearly shows in major cities
\nacross the U.S. and Europe, including New York, Los Angeles,
\nParis and London, are private affairs in hotel suites, but the
\n12,000-long invitation list includes celebrities Madonna, Ellen
\nBurstyn, and Norman Mailer.<\/p>\n
\"There are many artists and dancers on my mailing list, and
\nall publicity is done by word-of-mouth,\" she said.<\/p>\n
When asked if her customers are people who have sentimental
\nattachments to Asia, Nadya answers, \"Not at all, many of them
\nhave never been here or have no interest in Asia. But through the
\nfabrics they learn about the culture.\"<\/p>\n
For those who grow to really appreciate Indonesian
\nhandicrafts, Nadya organizes tour groups to visit her studio in
\nBali.<\/p>\n
Bali, however, is mostly the site of her manufacturing complex
\nand the home she shares with her Balinese husband. Much of her
\nbusiness is conducted overseas, selling directly to her clients.<\/p>\n
Will she increase sales activities in the country?<\/p>\n
\"Yes, partially because Bali has changed so much. I recently
\nopened shops in Bali and plan to do more shows in Jakarta.
\nBefore, doing business here was much more difficult,\" she said.<\/p>\n
Tourism, however, has not only facilitated commercial
\nenterprises but also commercialize Balinese handicrafts. Nadya
\nagrees.<\/p>\n
\"Sometimes I feel guilty because I feel like I am responsible
\nfor some of the changes tourism brings about,\" she said. Yet she
\nis optimistic that Bali's resilient traditions will survive.<\/p>\n
\"The artisans here are very adaptable. They feel that sense of
\nopportunity to create unusual designs within the traditional
\nskills that exist. Also, art here is so much part of their life
\nexperience, and that spirit of living hasn't changed,\" she
\nexplained.<\/p>\n
The adaptability of the Balinese extends to their welcome of
\ncultural appropriation. Jackets utilizing gold Balinese kain
\noften reserved for traditional rituals, for example, may offend
\ntraditionalists. Nadya contends otherwise. \"The Balinese are
\nvery flexible and open-minded. They understand that I use their
\nkain very carefully, with respect and interest,\" said Nadya.<\/p>\n
Nadya's works may be obtained at her Puri Naga studios in
\nLegian and Ubud.<\/p>",
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