Biyan 2004: A wearable collection of high art
Hera Diani, The Jakarta Post, Jakarta
The details in Biyan Wanaatmadja's recent show -- flowers, glitter, beads, patchwork, lace, more flowers -- were not unfamiliar to us.
But as frequently happens, the 48-year-old designer managed to recreate the elements in his own inimitable way, coming up with a collection that is fresh, original -- in a word, brilliant.
Designed for his signature Biyan line, the dresses were not just pretty garments. They moved and danced, breathing soul and character, evoking femininity and sensuality, tickling a dark impulse to rob a couple of the rich ladies sitting in the front row to be able to buy them.
The clothes and the carefully decorated stage -- arranged as an ancient mansion with large windows and pillars -- were not about the designer's personal vanity, but reflected his style, vision and philosophy.
It all came down to the Ballet des Fleur, the ballet of the flowers as the essence of them all.
"This year marks 20 years of my career, which I've been very, very faithful to. So many people have given me trust and support, so I thought it has to start with caring and love," Biyan told The Jakarta Post after the show, also a fund-raiser for tuberculosis research, at the Jakarta Convention Center last week.
Flowers symbolize those qualities, and also represent Biyan's trademark ultrafeminine style.
"The flower is also the symbol of human life, women; even when it withers, it still appears sexy. Asian countries use it the most as historical symbols," said the soft-spoken, down to earth designer.
The atmosphere of Biyan's collection is a modern fairy tale, contrasting past and present, the tough and fragile, old glamor and modern sophistication, elegance versus street chic.
Models took to the catwalk in upswept hairdos and Afro wigs with ultra-glittery makeup in layered evening dresses or loose structured jacket with narrow pants.
A striped T-shirt with flower embroidery was combined with a wide A line skirt, and another T-shirt with a silver floral motif was paired with an asymmetric satin skirt with art nouveau patchwork.
Other items were mini boleros, layered blouses and dresses with drapery technique, layers and pleats giving freedom to move.
The materials were light, flowing and diaphanous: Silk chiffon, silk crepe, silk satin, fine cotton, silk tulle and silk georgette, as well as lace, linen and knit.
Aside from embroidery, print and patchwork, the flowers were applied in silver and gold hotprints, as well as motifs formed by eyelets, tiny metals, crystal and mother pearls sewn onto the fabrics.
The mermaid-tail skirt was covered with three-dimensional flowers; for others, the flowers appeared in large brooches.
Aside from flowers, leaves and butterflies also appeared in prints and embroidery. There was a skirt with ripped threads seemingly representing shrubbery.
As always, the softest hues highlighted the collection, with shades of rose, taupe, stone gray, as well as mint and moss green, silver and gold.
With the inclusion of crystal, silver and gold, Biyan's latest collection appear more glamorous and dynamic.
"True, it tend to be glamorous. It's just the mood and the ambience. Because the world now becomes one -- you can be everywhere and people like the same thing. The glamor projects optimism, hope and strength," Biyan said.
It seems that in marking this important anniversary, Biyan is not just surviving, but going from strength to strength.
Put it down to the tremendous talent, experience and the Western educational background (fashion schools in Dusseldorf and London). It also happens that Biyan has a sharp sense, and skill, in combining creative aspects of design and business.
His clothes are elegant and intricate, yet they are wearable and practical. Somehow, he always manages to put Eastern elements into his designs, even for his line for young people (X)SML, as the elements are subtle and modern, not the heavy, foreboding ethnic-y style.
No wonder women dig his collection -- another one is Studio 133 for career women and the sporty/casual style. It's not just here that his talent is appreciated, for Biyan's clothes are available in upscale boutiques in Singapore, Kuala Lumpur, Hong Kong, Tokyo, Osaka and Taipei.
Some say that with his undeniable skill, he could hold his own in the haute couture hub of Paris.
Biyan insisted that this country has to own solid fashion industry worthy of regional or international scale.
"What's wrong with being a native Indonesian, an Indonesian designer based in your own country? Paris and all, why not? But I hope that fashion in Indonesia will improve," he said once.
A big salute to Biyan on his anniversary, and the wish for a long, fruitful career ahead, for he is a rare gem in the struggling local fashion industry.