1994 fashion finds rejuvenation in regeneration

1994 fashion finds rejuvenation in regeneration

By Rita A. Widiadana

JAKARTA (JP): Back-to-basics and regeneration colored the
local fashion scene this year.

A number of local designers have pledged to actively promote
the use of traditional fabrics in their creations. Of course,
several noted designers have been using such materials for years.
Such as Ghea Sukarya is famous for her jumputan (tie-dyeing),
Prayudi explores ikat (traditionally hand woven) from West and
East Nusa Tenggara and Iwan Tirta produces delicate batik pieces.
However, the main point is that this tradition should be passed
on to the younger generation, many of whom prefer to incorporate
ideas from western cultures.

In September, the Indonesian Fashion Designers Association
staged a special fashion show promoting Indonesia's traditional
textiles. Tie-dyeing is manifested in various forms and names. In
Java it is called rincik-tritik or jumputan, in Kalimantan it is
sasaringan, in Bali, Palembang, Lombok and Sulawesi it is plangi
(rainbow).

At the opening of the fashion show, Minister of Trade Satrio
Budiardjo Joedono said that, "Indonesia should tap into its
wealth of traditional textiles to produce a mainstream Indonesian
style for both clothes and exported fabrics."

Poppy Dharsono, fashion designer and leading garment
producer, explained that a focus on tie-dye fashion may
revitalize not only the traditional crafts of tie-dyeing but also
other highly refined traditional cloth making techniques. She
added that it is important to embody "traditional designs into a
cosmopolitan style".

Moreover, the tie-dye industry provides jobs for thousands
of villagers in Java as well as other islands. Young designer,
Pras Sudjie, who has just returned from four years working in
Milan, said that all designers in Italy get their tie-dye from
Indonesia.

Besides promoting traditional textiles, the association also
encourages its members to penetrate the international market.

Heading the motto that there is strength in numbers, the
association was established on July 22, l993 to provide
Indonesian designers with a way to expand their national and
international markets and reputations.

The association's chairwoman Poppy Dharsono said that the
association not only fosters creativity among Indonesian
designers through joint fashion shows and overseas exhibition but
also promotes and develops the local textile industry.

Textiles are currently Indonesia's largest non-oil economic
sector. With more relaxed trade regulations looming in the wake
of recent APEC negotiations, and with many of the association's
designers being self employed, it has the potential to be a
commercial venture.

Last November, the association organized a special show to
seek both a wider market opportunity and set the new fashion
vogue for l995.

The association has dictated next year's trends as being
four-fold. These were outlined in typical fashion styles as "free
expression" , "sense of innocence", "color of tradition" and "the
l930s charm".

It recommends the following trend: self restraint. The best
ensembles of Fashion Tendance l995 were the ones which followed
no particular trend and exercised minimal design. Instead, these
designers focused on the beauty of the textiles, which remains
Indonesian fashion's strongest commercial and aesthetic asset.

This year, Indonesian fashion experienced a smooth
regeneration process by encouraging young talents to take part in
this world. Femina women's magazine and the Indonesian Fashion
Designer Council held annual design competitions which were
proved to be an effective forum for enhancing the process.

The fashion scene in Indonesia proved itself to be alive and
kicking with innovative creativity when the Femina Group staged
the 16th Young Fashion Talents Contest last September. The
contest, participated in by 258 young talents, was merely aimed
at seeking young and talented designers. They are also expected
to breath new fresh idea into the local fashion scene.

Ten of the 258 participants were declared finalists. They
were given the opportunity to exhibit their creations at the
Sahid Jaya. The contest's past winners include Itang Yunaz,
Maarthi Djorgi and Samuel Watimenna, all of them now commercially
successful. The contest was sponsored by Lippo, Texmaco and
L'Oreal, while members of the jury consisted of fashion experts
and experienced designers. The winner of the contest was
promising young talent Emir Keita, with his short and snappy
Cosmopolitan Girl collections. The encouraging thing was that the
finalists came from various cities such as Bandung, Malang,
Surabaya and even the small city Temanggung in Central Java.

In August, the Indonesian Fashion Designers Council staged
the second Indonesian Young Designers Contest. The winner, Syah
Reza Muslim, will represent Indonesia at the ASEAN Young Designer
Contest l994 in Singapore.

Muslim's designs were praised because he met all the
contest's requirements of commercial, wearable, individual,
crafted and Indonesian designs. He modified the traditional
dress, Kebaya, into a modern and very cosmopolitan apparel.

The fashion world is often regarded as shallow and
inconsequential. A successful fashion industry, however, has
great economic, social and even political implications. In
France, the fashion industry has contributed more to the
country's economy than any other industry.

An influential Indonesian fashion industry could do the
same.

At present, Indonesian designers have not been able to
capture much international attention.

Famous designer, Susan Budihardjo, remarked, "In order to
enter the international market, we must refine the `Indonesian
touch.'"

She added that in the past, a number of Indonesians have
taken part in various design competitions in Paris and Singapore
but have never received recognition.

"We realize now that the international market wants an
Indonesian element. Even in Singapore, there is always special
characteristics of their own culture present in their
collections, however little."

Fashion designers from western countries are looking to "the
Orient" for inspiration. Paris designer Jean Paul Gaultier
explores the Indian and Masai cultures as he dresses his models
in bright saris. American designer Ralph Lauren features
cheongsam, the traditional Chinese dress.

"Why try to imitate the styles of other cultures while we
have so many traditional elements of our own to offer?" she
wondered.