Biyan 2004: A winning, wearable collection of high art
Biyan 2004: A winning, 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's withered, 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,
which means contrasting past and present, the tough and fragile,
old glamor and modern sophistication, elegance versus street
chic.
Models took to the catwalk in Afro wigs and 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 strong with being a native Indonesian, an Indonesian
designer based in your 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.