Trend 2000 show combines diverse styles and influences<\/p>\n
Text and photos by Agni Amorita<\/p>\n
JAKARTA (JP): The creations of Surabaya-based fashion designer
\nKiatna Kwanda, presented here last week, might remind one of John
\nLocke's tabula rasa theory. Like Locke's theory of purity which
\nwas compared to white paper, Kiata offered the same philosophy in
\nstarting the third millennium with his entirely white stainless
\ncollections.<\/p>\n
The designer, who does not intend to sell the dresses in the
\ncollection, as he did in his last two annual shows, adopted a
\nfeminine approach by using wrinkles and coin shaped detail with
\nstrong masculine horizontal and vertical lines as the spirit of
\nhis white silk. To make the perfect wrinkle as the dominant
\neffect in his collection, Kiata put a coin in the silk, loosened
\nup the thread and then took away the coin, just like the tie dye
\ntechnique but without adding the color. And as a result, Kwanda
\nreceived rapturous applause from the audience.<\/p>\n
The Indonesian Fashion Designers Council, better known by its
\nabbreviation IPMI, staged their 14th annual trend show for three
\ndays, starting on Monday, Nov. 22, at the Bidakara convention
\ncenter, Jakarta. It took place just a few days after another
\norganization, the Indonesian Fashion Designers Association
\n(APPMI) held its annual Tendance Fashion show.<\/p>\n
During the event, approximately five IPMI designers presented
\ntheir collections individually each day.<\/p>\n
"We have to start this international format because in the
\nfuture there will be a need to place potential buyers -- mostly
\ninternational ones -- for each designer," explained Sjamsidar
\nIsa, IPMI's chairwoman, before the shows. She believed that
\nfollowing this, Paris' pret a porter format is a need for the
\nIndonesian fashion industry development. "Actually we wanted to
\nstart it last year but the monetary crisis ruined that plan," she
\nadded.<\/p>\n
With three month's preparation, the Trend 2000 fashion show
\ncosting more than Rp 400 million, was designed to promote IPMI's
\nyounger generations. In fact, only two senior designers took part
\nin the event: Ghea Panggabean and Carmanita Mambu. Ghea closed
\nthe event consistent with her Asian ethnic approach. Borrowing
\nfrom Indian styles whose fragile fabrics are light and bright,
\nGhea enlivened the night with a youthful spirit with the use of
\ndenims.<\/p>\n
Carmanita faithfully stayed with her kebaya dresses. Her
\nexploration for next year was white batik, as well as those of
\nlight brown, soft pink and silver. Other designers presented
\nwedding gowns as their masterpieces, showed as the last outfit in
\nthe catwalk. Carmanita proudly presented her only male design, a
\nblack batik, presented by the famous music producer Jay
\nSubiyakto.<\/p>\n
IPMI also explored other generations. Didi Budihardjo, Widhi
\nBudimulia, Cheppie and Sutanto Danuwijaya took the audience to
\nEurope with their sleeveless ballgowns while Stephanus Hamy, Tuty
\nCholid and Rumah Mode Prayudi (Prayudi's boutique) explored silk
\nBugi Makasar sarongs and batik. Hamy turned the old fashioned
\nMakasar sarong into a younger look with his bright coloring and
\nused dynamic cutting for his bolero-ed mini skirts and pants.<\/p>\n
Widhi Budimulia went with pastel colors for his coated
\ntrousers, sleeveless long dresses and knee-length skirts. Widhi
\nintroduced a vertical fish in fin-shaped detail as exclusive
\nriffles to feminize his collection.<\/p>\n
Bright colors were the order of the day for Cheppie. He used
\nblack metallic sequins to cover a red silk bustier and to make it
\ndevastating he added it to a backless long red silk dress. The
\ngypsy look was Sutanto's choice. Taking cross cultural themes,
\nSutanto mixed glamourous colors such as red, green, orange and
\nblue in feminine fabrics such as tulle, taffeta and chiffon.
\nSebastian Gunawan and Syahreza Muslim preferred Chinese-inspired
\nred and gold dresses. Crystal and sequins in Sebastian and
\nSyahreza's hands were placed harmoniously as the dress'
\nillumination. It glittered. Not all of Sebastian's creations had
\ntrendy circle-shaped sequins as he still had his favorite,
\nexpensive lace. The rich fur lining in Sebastian dresses and
\ntrousers also indicated that they were not low-cost.<\/p>\n
Going further was Ronald Very Gaghana whose collections were a
\nunity of Asian, European, American and African inspirations.
\nAfrican paintings and American Indian bird feathers were well
\nmixed in increasingly favorite tanned-skin color dresses or knee
\nlength pants. Ronald also offered tosca green and bright orange
\nas the year 2000's color trend. For the millennium touch, he
\ncompleted the collections with vinyl pants in honey color.<\/p>\n
Unpredictable designs came from IPMI's youngest members. The
\nwidely talked about Urban Crew -- a label owned by Era Soekamto
\nand Ichwan Toha -- appeared in Emergency Room's outfits. A
\nnurse's white uniform and a gown usually worn by a doctor in the
\noperating theater were modified into trendy, fashionable and even
\nnaughty outfits.<\/p>\n
Oscar Lawalata went wild with Makassar silk in his
\nlook-like-a-kimono's kebaya and baju bodo collection. Still
\nconsistent with his button-free style, Oscar used complicated
\nfolds in his long and light pastel dresses.<\/p>\n
In short, IPMI wanted to announce its readiness to provide
\nalmost all the needs of the fashion industry, internationally of
\ncourse.<\/p>",
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