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