Going Global Without Losing Roots
A piece of clothing is never just about the fabric. Behind every cut, motif, and visible detail lies a long story of its creation process. There are artisans preserving techniques passed down through generations, knowledge inherited across eras, and designers translating ideas into works of art.
On the other hand, fashion trends continue to shift, market needs evolve, and brands are required to adapt to increasingly broad competition. In such conditions, creativity remains the primary foundation, but the growth of a brand also requires the ability to maintain the values that differentiate it.
How, then, can a brand expand without losing the identity that serves as its strength? This question was the focus of a panel discussion organised by the French Embassy-IFI, Lulakon Indonesia, and the JF3 Fashion Festival. Titled ‘Fashion and Craftsmanship: Rethinking the Fashion of Tomorrow’, the discussion brought together Indonesian and French fashion industry players, including Thresia Mareta (Founder, LAKON Indonesia), Darja Richter-Widhoff (Head of Design and Co-Director, ENAMOMA-PSL), Fengyuan Dai (Designer and Founder, 30%70), Gabriel Marcella Budiono (Designer and Resident, PINTU), and Mickael Nana (Designer, MARLON NANA and Resident, PINTU).
Providing a perspective, Thresia Mareta of LAKON Indonesia noted that the growth of a brand does not always have to be translated through an increase in production volume. For brands growing through craftsmanship, the value of a work lies not only in the final product but also in the process, experience, and skills that shape it.
“A work involving traditional techniques, manual processes, and artisan skills possesses value that does not solely originate from the final product. There is time, experience, and knowledge that shapes every stage of its creation,” said Thresia.
In her view, the concept of ‘scaling up’ in the fashion industry needs to be understood more broadly. Scaling a brand is not just about producing more items, but about increasing the capabilities of the people involved. “If we apply that logic to business, I think we will destroy what we ought to possess. We have other options for scaling up,” she said.
Therefore, brand development can be achieved by enhancing the skills of designers and artisans. “We can scale up by increasing the proficiency of designers and increasing the value of what they create,” Thresia added. She noted that many Indonesian artisans possess great abilities but still require educational support and access to grow alongside the industry.
The strength of Indonesian craftsmanship is also evident in the relationship between designers and artisans. Gabrielle Michelle Budiono, a designer and resident at PINTU who has experience working with artisans in Mojokerto, stated that the creative process cannot begin simply by bringing a design and asking artisans to execute it.
“We cannot think, ‘I have a design that can be made.’ We must build, converse with them, and understand their specialities,” said Gabrielle. She explained that every artisan has a different character; even within the same region, each craftsman may have techniques and approaches that result in works with their own unique identity.
“Every artisan has a speciality in different methods, and every piece of their work is unique to them,” she explained. This uniqueness is part of the work’s value. In craftsmanship, artisans are not merely producers, but an integral part of the creation process. “They are not just about sales; they are part of the creation process,” she added.
While maintaining creative value, fashion brands also face business challenges. Mickael Nana, designer and founder of MARLON NANA, observed that many designers must find a balance between maintaining creative identity and ensuring business viability. “The problem is how we can find that balance,” said Mickael.
One of the greatest challenges for young brands is obtaining high-quality materials in limited production quantities. Many fabrics with specific characteristics are difficult to procure because manufacturers require large volumes. “For young brand designers, it is very difficult to find fabric, especially high-quality fabric,” he said.
This condition necessitates creativity not only in design but also in building production strategies and relationships with various stakeholders. Furthermore, changing consumer behaviour is also transforming the fashion industry. Consumers now look beyond the final product, seeking to understand the story, the process, and the people behind the work. “Users truly want to see the humans behind the clothes, and how everything comes together,” Mickael revealed.
Darja Richter-Widhoff, Head of Design and Co-Director of ENAMOMA-PS, assessed that the fashion industry cannot be built by a single main figure. “Not everyone needs to be a star. We should be a group of stars,” she remarked.
According to Darja, a fashion work is born from the contributions of many parties, ranging from designers and artisans to those who understand materials and production processes. Consequently, education is a vital part of building a strong fashion ecosystem. “This relates to education, not just for designers, but for students and the general public,” she explained.
For Indonesia, Darja continued, this approach is becoming increasingly important because the nation possesses a wealth of textile traditions and craftsmanship that can serve as a strength in the global market. The Indonesian fashion industry has significant opportunities for growth.