1996 trends show nostalgia for 1960s chic
1996 trends show nostalgia for 1960s chic
JAKARTA (JP): The Indonesian Fashion Designer's Association
(AAPMI) staged a similar Trend Show, called Tendance 96, the day
after IPMI's show.
Is competition heating up between the two organizations?
Designers declined to comment on the rivalry, but IPMI's efforts
far out staged its competitors.
Presentation played an important role in IPMI's dominance.
IPMI's show was held in the plush ballroom of the Jakarta
Convention Center, AAPMI's in the lobby of the Ministry of
Education and Culture. The former's show was enhanced with
masterful stage coordination, while the latter's performance was
weakened by poor lighting.
AAPMI director Poppy Dharsono argued that this is the best
they can afford without sponsorship.
"It's difficult to find a stage in Jakarta that isn't an
expensive hotel," Poppy said. The lack of funding also meant
photocopied press releases instead of the usual glossy pamphlets.
Director of the Femina Group Pia Alisjahbana said that it's not
the glossy packaging that counts, but what's inside the package.
"What's important is the fashion shown," said Pia. "This is a
good move for fashion," she added.
Unfortunately, the AAPMI fashions didn't live up to the hype.
A mountain of good intentions does not compensate for collections
lacking in vision and expertise. Designer Taruna Kusmayadi said
that AAPMI's show is different because it doesn't follow European
trends strictly. Instead, they design with a "9 to 5" concept
suitable for working women, and try to sell clothes within an
affordable price range.
Few women will dress for the office in Taruna's Barbarella
creations: pink velour miniskirts, cropped jackets with wing-like
sleeves, and thigh-high boots. The downwardly-mobile may don
Nanik Luminto's bodysuits worn over polyester leggings and white
high-heels, but not ambitious female yuppies. Low-cost clothes do
not have to look cheap.
Some of AAPMI's clothes are obviously expensive.
"The high fashion is difficult to make, so it's a little
expensive, maybe Rp 3 million a gown," Poppy Dharsono said while
letting out an embarrassed giggle. The gowns require yards and
yards of fine batik, Poppy reminded, so it should be expensive.
All that money should also include fine tailoring, but her
bodices were ill-fitting, and the yards of fabric meant cluttered
layers. However, the fabrics themselves -- painted silks in pale
golden hues -- are beautiful.
AAPMI is actually about beautiful fabrics, not necessarily
beautiful clothes. Dadang Koesdarto's ikat motif silks are subtle
statements of elegance, as are Dimas Mahendra's colorful tie-
dyes. Diah Prass' painted satins in marine shades are stunning.
Her spare designs, off-the-shoulder tops and low-waisted ankle-
length skirts are elegant, but the styling spoiled the look. Who
wants to wear a swimming cap out of the water?
AAPMI's designs are indeed like fish out of water. Their
search for Indonesian instead of European inspiration is
praiseworthy, but the search is ultimately fruitless. Themes like
"Aura Makassar" and "Marine Metamorphis" produced little-
understood and awkward designs. Dimas Mahendra's striped yellow-
and-black baju bodo, for example, is basically an unflattering
bee costume. Etty Bachetta plastered Asmat motifs on her gold
polyester satins when not weighing down her tangled designs with
blue ribbons. The models looked like Christmas presents: Is this
Bachetta's idea of Christmas cheer?
Christmas is a few short weeks away. What about dressing for
the new millennium? Musa Widyatmodjo tried to answer with tight
copper suits in crushed synthetics. Seen it, worn it. Jazz Pasay
offered crepe gowns in nude hues. The color is wonderfully
unassuming; the elaborate shapes and lace bras are not. Henry
Kusuma thinks the future means polyester satins in palest pink
and blue. Sound enough? wait for the shapes the fabrics take.
Hipster skirts, long empire-waisted dresses, worn with
construction hats and high heels. The getups are beyond
comprehension.
-- Dini S. Djalal