Iwan Tirta launches first casualwear line<\/p>\n
By Dini S. Djalal<\/p>\n
JAKARTA (JP): Indonesia's most famous luxury designer is going
\nmainstream. Iwan Tirta, whose couture batiks are worn by royalty
\nand heads of state worldwide, is launching his first casualwear
\nline called Tirta.<\/p>\n
To be sold at department stores across Indonesia and
\neventually overseas, as well as in the first Tirta boutique at
\nMal Taman Anggrek, West Jakarta, the Tirta line is primarily play
\nclothes for men. Jeans, t-shirts, polo shirts, shorts, and casual
\nshirts comprise the bulk of the collection, most of which are
\naccentuated with vaguely batik motifs. The collection was
\nunveiled at a fashion show earlier this week at the Fashion Cafe.<\/p>\n
It's a bold and surprising move on the part of both Iwan Tirta
\nand his backer and production partner, garment manufacturing
\ngiant Great River International (GRI). GRI says the deal was made
\nto promote products \"Made in Indonesia\" both in Indonesia and
\noverseas, as well as to support Indonesia's fashion industry.<\/p>\n
The campaign will focus on the domestic market in the first
\nyear. But in two years GRI is confident that the combination of
\nquality clothes with lower production costs will make the
\nproducts more competitive than similar brands. Its first year
\nsales target is US$1.4 million, and $9 million in five years.<\/p>\n
As in any business venture, however, optimistic targets do not
\ncome without costs. Tirta is likely to sell well alongside other
\nlocal casualwear brands such as Country Fiesta, but it may have
\nan adverse affect on Iwan Tirta's batik collections. Pierre
\nCardin initially catered to the mass market and elite clients,
\nbut eventually became known more for his bed linen than his
\ncouture.<\/p>\n
Greater prosperity, and the snobbery that accompanies it, may
\npose a problem. The nouveaux riches often buy products for their
\nexclusivity, and disdain anything considered \"common\". The
\nwealthy may avoid association with a name worn by the not-so-
\nwealthy.<\/p>\n
But ultimately what counts is the product. Yet unlike the
\nubiquitous The Gap, which does brisk business with all economic
\ngroups because it produces generic but essential clothes, the
\nbland Tirta collection does not have similar appeal and does
\nlittle to raise Iwan Tirta's batikking reputation. Tirta's batik
\nexpertise may be dimmed by the exposure of Tirta khakis. This
\nmay be good news to GRI, which will no doubt sell a lot of jeans,
\nbut not so great for Iwan Tirta's batik studios.<\/p>\n
So why is Tirta doing this? Money. He knows that casual
\ncollections and mass manufacturing are where fashion's future
\nlies. \"Fashion is big business. We are no longer kids playing
\nwith beautiful clothes,\" said Tirta.<\/p>\n
Tirta offers Europe's fashion industry as an example of the
\nmove towards commercialism. \"In France, all the fashion houses
\nare controlled by conglomerates. Today it's big business which
\ndecides who will run the fashion houses,\" said Tirta referring to
\nthe ownership of Christian Dior and Givenchy, among others, by
\nthe HMLV (Henessy Moet Louis Vuitton) Group.<\/p>\n
Perhaps feeling the pinch of competition from international
\nbrands, Tirta has changed gears to reach their level of
\ncommercialism.<\/p>\n
\"Today, you can't go on in fashion without production,
\nfinancing, advertising, and publicity,\" he said.<\/p>\n
But in an attempt to stretch the market, attention to detail
\nand creativity may be lost. As an observer in the audience
\ncommented, \"If this is what they mean by industry growth, then
\ndesigners should keep it small.\"<\/p>",
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