A welcome glimpse of fashion reality in Spring shows
A welcome glimpse of fashion reality in Spring shows
Text and photos By Dini S. Djalal
JAKARTA (JP): With busy work-schedules which allow little time
for the gym, the average woman is an American size 8. She eats
whatever is available when she has the time, and dresses for
comfort and convenience.
Why, then, is so much of fashion wearable only for rake-thin
waifs on a diet of night-clubbing?
Among those who better understand the practical needs of
modern women are the industry's few female designers. Donna
Karan, America's foremost female designer, maintains that she
designs chiefly to supplement her wardrobe with basic pieces,
such as the bodysuit and the simple black cardigan, which she
could not find elsewhere. To Karan, understatement is key, and
her palette rarely veers from shades of red, beige, and gray.
In Indonesia, fashion is often subservient to whimsy. Ghea
Sukarya, one of the handful of female designers, has lately
followed in Karan's footsteps in assembling monochrome garments
-- a far cry from her vibrant tie-dyed ensembles of the mid-
1980s. Others remain static in the ethnic mode, designing layer
after layer of busy colorful prints copied from the pages of
anthropological coffee-table books.
German-designer Betty Barclay's fashion show last week, held
at the Grand Hyatt Jakarta, displayed not so much ethic prints
but roomy outfits designed for women with healthy appetites.
Sadly, the near-anorexic models at the show nearly drowned in so
much clothing -- yet another example of the divide between the
fashion world and real life.
Barclay's show was pleasant, but not riveting. The most
prominent silhouette was that of the boxy viscose Hawaiian shirt,
worn atop skirts and trousers of all lengths and shapes. Colors
were also of the holiday-variety: bright yellows, reds, nautical
navy. The flowing waistcoats had adjustable fasteners --
presumably to loosen after a large meal. The kindest analogy to
mind is that of Brenda (of TV show Beverly Hills 90210) preparing
for the maternity ward.
The evening dresses were more flattering, but still cut with a
conservative hand. The most original ensemble was a short 40-
style fitted dress with asymmetrical tiers. In a sheer flowered
print, it was a bold and sexy statement. However, the sequined or
lace knee-length gowns (in black, white, or red), even the long
chiffon shift with crushed bodice and slinky scarf, were
conventional wear for the opera.
Handcrafted detailing
Earlier this month Nadya, an American designer based in Bali,
held a rare fashion show during the American Arts Festival.
Since her arrival in Bali in 1978, Nadya has created clothing
utilizing the archipelago's traditional handicrafts: batik, ikat
and embroidery. Were it not for the ingenuity of her motif-mixing
and the exquisite detailing of the handmade fabrics, Nadya's
clothes would not be unlike the dozens of "ethnic" collections
found on the third floor of Blok M's Pasaraya.
As importantly, Nadya's clothes are designed with imperfect
bodies in mind. Many of the pieces have adjustable string-
fasteners or movable buttons. It is refreshing to find a designer
without fascist notions of body type.
Of course, designs with full-bodied figures in mind run the
danger of looking dowdy. Generously-cut shirts, coats, and
jackets provide comfort but neglect the curves of a woman. Nadya
often counters this with a matching catsuit or leggings
underneath. Yet wearing skintight lycra is neither advisable for
a humid Metro Mini bus journey or a stroll amongst the city's
countless catcallers. An assortment of long flowing sundresses
were paraded -- breezy vacation-wear for conservative matrons
planning to go gardening back home in the same outfits.
What holds the audience's attention are not the silhouettes
but rather the gleam and sheen of the fabrics.
There were pointilistic batik painting on purple silk,
iridescent lilac and cream synthetics, breathtaking patchwork and
painting in traditional Balinese or batik designs. The best
pieces are the reversible A-line floor-length robes. One side in
bright shiny colors and the other side in more subdued tones.
Unfortunately our perpetual summer makes coat-dressing
impractical.
Otherwise, however, practicality seems to guide Nadya's
esthetics. Unlike at the Betty Barclay show, many non-models of
all body types were featured in the show, as if to demonstrate
that these are real clothes to be worn by real people. This was a
very clever move, as most of us know all to well the impulse to
buy clothing which looks great on a mannequin but not so great in
the harsh light of our own closet. Fashion may feed on glamour
for inspiration, but ultimately it is the customer who must bear
the brunt of bad jokes.
Unusual
Nadya's "ethnic" clothing may now seem unusual in the light of
increased tourism and affluence in the country. Yet Nadya is
quick to point out that she and her 125 artisans have been
working together to promote local handicrafts for at least ten
years, and preceded the boom in "traditional culture".
"When I first started, it wasn't like it is now," explained
Nadya. "Now there is large-scale production, but before it was a
struggle just to get the same blue tint twice," she said.
Those struggling years are over. In 1987, Nadya received a
Designer of the Year Award from the Contemporary Art Museum of
Chicago, her home-town. Her twice-yearly shows in major cities
across the U.S. and Europe, including New York, Los Angeles,
Paris and London, are private affairs in hotel suites, but the
12,000-long invitation list includes celebrities Madonna, Ellen
Burstyn, and Norman Mailer.
"There are many artists and dancers on my mailing list, and
all publicity is done by word-of-mouth," she said.
When asked if her customers are people who have sentimental
attachments to Asia, Nadya answers, "Not at all, many of them
have never been here or have no interest in Asia. But through the
fabrics they learn about the culture."
For those who grow to really appreciate Indonesian
handicrafts, Nadya organizes tour groups to visit her studio in
Bali.
Bali, however, is mostly the site of her manufacturing complex
and the home she shares with her Balinese husband. Much of her
business is conducted overseas, selling directly to her clients.
Will she increase sales activities in the country?
"Yes, partially because Bali has changed so much. I recently
opened shops in Bali and plan to do more shows in Jakarta.
Before, doing business here was much more difficult," she said.
Tourism, however, has not only facilitated commercial
enterprises but also commercialize Balinese handicrafts. Nadya
agrees.
"Sometimes I feel guilty because I feel like I am responsible
for some of the changes tourism brings about," she said. Yet she
is optimistic that Bali's resilient traditions will survive.
"The artisans here are very adaptable. They feel that sense of
opportunity to create unusual designs within the traditional
skills that exist. Also, art here is so much part of their life
experience, and that spirit of living hasn't changed," she
explained.
The adaptability of the Balinese extends to their welcome of
cultural appropriation. Jackets utilizing gold Balinese kain
often reserved for traditional rituals, for example, may offend
traditionalists. Nadya contends otherwise. "The Balinese are
very flexible and open-minded. They understand that I use their
kain very carefully, with respect and interest," said Nadya.
Nadya's works may be obtained at her Puri Naga studios in
Legian and Ubud.