Competition help local designers gain name<\/p>\n
By Dini S. Djalal<\/p>\n
JAKARTA (JP): A satellite dish, a rattan mat and a plastic
\nweb: household appliances or the latest fashions?<\/p>\n
Both, according to the finalists of the Concours International
\nde Jeunes Createurs de Mode, to be held in Paris in December.
\nSponsored annually by the Femina Group, the qualifying
\ncompetition held at the Hilton hotel last Thursday produced ten
\ncontestants for the Paris finals.<\/p>\n
This year's winners have fierce competition, particularly
\namong each other. This contest is unique because it sends more
\nthan one participant to the final stage. Financial constraints on
\nthe part of participants have limited the contest to ten
\nparticipating countries, compared to 24 countries in past years.
\nEach country is allowed up to ten contestants. One winner is then
\nselected from the ten and competes with nine other finalists for
\nthe Grand Prix Prize, whose jury will include Parisian designers
\nSonia Rykiel, Kenzo, and Bernard Perris. The Grand Prix prize is
\nworth 20,000 francs.<\/p>\n
Which of this year's ten winners will make it to the Grand
\nfinals? Will it be Arifin Mas' \"Dayak Iban\" creation, a slender
\ncolumn of black mesh, painted chiffon and gold neck brace? What
\nabout \"the Art of Wayang\", by Jennij Tedjasukmana, a luminously-
\npainted gown shaped like a bell, with orange feathers for a
\nbodice and collar? Or perhaps something more obviously \"ethnic\",
\nlike Venny Mulyani's \"Barong\", a feminine translation of Bali's
\nornate gold barong costume? Tame fare compared to Sumaryati
\nDjaprie's \"Intelligent Network Systems\", composed of a map of
\nIndonesia as a mini-skirt and a silver satellite dish as a top.<\/p>\n
How does Sumaryati's design meet thee competition's criteria
\nof showcasing Indonesia's culture?<\/p>\n
\"Indonesia is not only Bali, but from Sabang to Merauke. I
\nwanted to show how the provinces communicate with each other,\"
\nSumaryati answered.<\/p>\n
Considering the outfit wouldn't fit in your average suitcase,
\nhow does it fulfill the other criteria of \"wearability\"?<\/p>\n
\"If you take off the satellite, it's a very wearable dress,\"
\nsaid Pia Alisjahbana, director of the Femina group.<\/p>\n
Margaret Dickenson, one of the 11 juries and wife of Canada's
\nambassador, added, \"You need something that is not just
\ntraditional Indonesian,\" referring to the numerous ethnic-
\nflavored designs on the runway, for example winning designs like
\nMonica Puspitasari's miniskirted \"Legong Dancer\", or Zainal
\nMuttaqin's Cleopatra-inspired \"Rona Kalimantan\".<\/p>\n
Yet less visibly-traditional designs were also recognized,
\nsuch as Daniel Hidayat's chic \"Borneo\": a black swimsuit under a
\nweb of black tassels alluding to the rain forest's tangled roots.
\nYuna Ernanita's \"Bunga\" perhaps won for its intricate assemblage
\nof gold flowers and grass attached to the lightest, most
\ntransparent gauze.<\/p>\n
Some wonderful designs that lacked ethnic flavor did not win.
\nTiti Santoso's \"Garden Ball\" was a gorgeous concoction of crushed
\nflowers atop a grass skirt shaped like a hut, yet you could not
\npinpoint the inspiration to one ethnic group. \"Jakarta Fair\" by
\nJap Denny was a hyperactive science experimentation, with
\nmolecule-like billiard balls as headdress and gown decorations.
\nAchmad Taruko's \"Transparan Plastik\", a ball gown made of
\ncolorful plastic folders, was a witty take-off of a space-age
\nCinderella. They were all great designs, yet fell short of
\nrepresenting Indonesia's culture -- which in this case meant
\n\"traditional\" culture.<\/p>\n
\"Traditional\" culture, however, was interpreted in distinctly
\nnon-traditional ways. Catcalls were heard throughout the show as
\nmodels sashayed in ever more revealing clothes. Some outfits
\nbarely covered breasts, and backs were heavily on display. The
\nbody seemed to be the biggest inspiration and a foundation for
\ninnovative sculpture.<\/p>\n
At least the designers knew what they were sculpting. Another
\ndistinction of this competition is its requirement that the
\ndesigners make the clothes themselves, without tailors or
\nassistants.<\/p>\n
\"It will be embarrassing if they win in Paris and don't know
\nhow to sew,\" said Pia Alisjahbana.<\/p>\n
Another requirement is cash. It will cost each contestant
\n3,000 francs to enter the competition, and airfare and
\naccommodation is not provided. The Rp 1 million each designer has
\nwon so far only covers the cost of their winning designs. The
\nmoney involved can scare away poor but talented young designers.<\/p>\n
That's the nature of the business, says Pia Alisjahbana.<\/p>\n
\"To go into fashion, you have to be ready to spend some
\nmoney,\" she said.<\/p>\n
The role of the Femina Group, she adds, is to provide the
\nnetwork for young designers, not to financially support them.<\/p>\n
\"We contact all the fashion people, the fashion schools. Look
\nat Itang Yunasz or Taruna Kusmayadi, they've won our competitions
\nand now they have a name,\" Pia said.<\/p>\n
Winners of fashion competitions may have gained prestige, but
\nthey have not made much money. Unlike the corporate-empires of
\nAmerica's Calvin Klein and Ralph Lauren, Indonesia's fashion
\nindustry is still made up of small businesses.<\/p>\n
\"Japan's Issey Miyake became well-known because he had big
\ninvestors. But here, even Ghea Sukarya (one of Indonesia's most
\nsuccessful designers) is still a small entrepreneur,\" said Pia.<\/p>\n
She concluded that Indonesian designers need one thing to make
\nit to the big league: \"We need investors.\"<\/p>",
"url": "https:\/\/jawawa.id\/newsitem\/competition-help-local-designers-gain-name-1447893297",
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"sponsor": "Okusi Associates",
"sponsor_url": "https:\/\/okusiassociates.com"
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