RI designers face greater retail competition<\/p>\n
By Dini S. Djalal<\/p>\n
JAKARTA (JP): It's a good thing that copyrights remain an
\nalien concept in the fashion world, or else many designers would
\nbe out of business.<\/p>\n
Including Indonesian designers. At the 1996 Wajah Mode (Face
\nof Fashion) show held throughout this week at Mega Pasaraya
\nDepartment store in South Jakarta, the globalization theory
\nmanifested in full force. Dozens of similarly-inspired
\ncollections paraded down the runways as mirror images not only of
\neach other's works but also of European and American designers'.<\/p>\n
No longer are Asian designers the backward cousins of their
\nFirst World counterparts. The information superhighway --
\nsatellite television, print media, the Internet -- has quickened
\nthe replication of faraway fashions.<\/p>\n
For the time being, this benefits consumers. Pining for that
\nmint Versace suit but can't bear to pawn your wedding ring?
\nCheck out Chossy Latu's delicious mint ensembles lined with
\nmatching satin. Want to look like an Armani vamp in beige
\npantsuit and matching bra? Valentino Napitupulu has it for a
\nfraction of the price. Imitation is not only the best flattery,
\nbut also the cheapest.<\/p>\n
\"Indonesian fashion does turn to the West, but it also
\nincludes traditional aspects,\" explained Chossy Latu. But
\ninclusion of local traditions may have to wait until next season,
\nshould the \"ethnic\" look come into vogue again.<\/p>\n
At the moment, it is the secretarial style that is all the
\nrage. And thankfully so, because without the current trend
\ntowards conservative fashions, imitation would be a handicap. Who
\nneeds another well-fitting suit or a simple shift-dress? Answer:
\nAlmost every working woman. European and American designers claim
\nthat their infatuation with matronly style is based on revolt, a
\nrevolt against the trendy miniskirts of youth. Calvin Klein
\nproclaimed to Vogue magazine, \"The knee-length look just looks
\nfresh.\"<\/p>\n
Klein forgot to add that it's also safe. Female executives too
\nbusy to retain a teenage body prefer clothes that hide their
\nwobbly parts, not lycra hot pants. With the exception of Beverly
\nHills teenagers and their Pondok Indah wannabes, mature women
\ncomprise the bulk of the fashion market. Ultimately, conservative
\nfashions are about safe business.<\/p>\n
Big business is in fact starting to support the local fashion
\nindustry. The newly-opened Mega Pasaraya, for example, will house
\nthe collections of many local designers and is sponsoring this
\nweek-long fashion extravaganza.<\/p>\n
Yet the support remains half-hearted, as imported fashions,
\nparticularly luxury goods, take center stage. Indonesian fashion
\nis relegated to the first floor of Mega Pasaraya, while the
\nground floor is the domain of foreign boutiques. The recently-
\nopened Plaza Senayan and Galeri Grand Hyatt boasts even more
\nforeign designers, such as Thierry Mugler and Calvin Klein. With
\nsuch big names heating up competition, struggling local designers
\nface tougher times capturing a market.<\/p>\n
Rae Sita Supit, vice-president of PT Pasaraya Nusantara, is
\noptimistic about the retail market.<\/p>\n
\"Jakarta is fast becoming a shoppers' city, as Singapore steps
\ndown. Shopping tourism in Jakarta has considerably increased,\"
\nsaid Rae Sita.<\/p>\n
But will tourists buy locally-made collections? Local
\ndesigners must ultimately expand their production in order to
\nproperly compete with foreign producers, and this requires the
\naid of textile producers. Indonesia's textile industry is the
\nnation's largest non-oil export sector, yet their success has
\nlittle affected Indonesian designers. The backing of the
\ncountry's textile giants could lower production costs and help
\nlocal designers achieve economies of scale.<\/p>\n
Chossy Latu says progress is being made, however slowly.<\/p>\n
\"Yes, there is a gap between textile producers and local
\ndesigners,\" said Chossy. \"But a dialog is ongoing,\" he said.<\/p>\n
Hopefully, the dialog will conclude while the fashions are
\nstill hot. The quality of locally-made collections remain
\nhindered by inferior fabrics and sloppy finishing, but in recent
\nyears the overall vision has vastly matured.<\/p>\n
At least for most. Some designers still cannot transcend the
\n\"designer\" stereotype and over-design rather than streamline.
\nProducts of the excessive Eighties, these designers have not
\naccepted that minimalism is no longer a fleeting trend, but the
\naesthetic of the new millennium. More and more women are wearing
\nless accessories, prints and make-up.<\/p>\n
Yet loud designers were a minority, and much of the 1996 Wajah
\nMode show highlighted a minimalist aesthetic. What save some, not
\nall, the designs from being repetitive was their ingenious use of
\nfabrics.<\/p>\n
For example, Alex AB's silhouettes may come from your mother's
\ncloset -- knee-length suits, capri pants, boxy jackets -- but his
\ncolor scheme spun a modernist tale. Cool turquoise was played
\nupon metallic blue, all sassily strutting in confident taffeta.<\/p>\n
Alex AB's suited sirens had many sisters. Chossy Latu,
\nValentino Napitupulu, Samuel Wattimena, Biyan and Dipa, all
\ndesigned under the same paradigm and sent out this season's
\nubiquitous sleeveless shift with matching jacket. Color variation
\nwas the only thing that set them apart. Latu chose mint,
\nWattimena opted for beige and pink. Napitupulu's collection was a
\npastel fiesta, offering suits in lilac, pink, mint and camel.<\/p>\n
Men's attire also did not differ from collection to
\ncollection. Crepe or satin shirts with flyaway collars appeared
\nagain and again. Will Indonesian men want to look like 1970s TV
\nicons Starsky and Hutch? Designers hope so.<\/p>\n
Biyan's show, however, transcended fashion. When the models
\nappeared solemn-faced and walked very slowly, the audience
\nrealized this would be different from the rest. This season's
\nclothes are in fact subtle updates of last year's collection
\nrather than the 180 degree transformation committed by other
\ndesigners. Organza tunics with tiny flower embroideries were
\nlayered over crepe slips. Cropped jackets were also finely
\nembroidered and paired with the slimmest trousers. The knee-
\nlength look may not flatter many figures, but with his masterful
\ncut, Biyan is able to transform the most awkward silhouette into
\nbeautiful statements.<\/p>\n
Thomas Sigar also has a deft hand. His pink and mint A-line
\nmini-dresses may be too cute outside of sunny Miami, but, thanks
\nto a great cut, they retain a sleek and modern sensibility. Ghea
\nSukarya's white and black shifts were also ultra-modern, worn
\nwith low-slung belts and shell chokers. While her short dresses
\nare quietly sensual, her long skirts and sarongs are sexier
\nstill. Again belted at the hip, these modest ensembles were fired
\nup by the accent of leopard prints.<\/p>\n
Animal prints make up the bulk of Raizal Rais' designs. His
\nshow started with a Vespa roaring onto the stage. Original? New
\nYork designer Anna Sui did it for last season's show. Animal
\nprints have also made their way into every teenagers' wardrobe,
\nso the collection was a meow rather than a growl.<\/p>\n
But it will sell. People who want their clothes to give them
\npersonality will stock up on Rais' trendy satins and prints.
\nUltimately, sales are what really counts.<\/p>",
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