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.