Indonesia's fashion world on the international catwalk

Indonesia's fashion world on the international catwalk

By Asniar Sahab

JAKARTA (JP): Going international is the dream of many fashion
designers around the world, including Indonesians.

Building a strong foothold on the intricate and glamorous
world fashion stage requires a lot of hard work and persistence.
Only distinguished designers with strong and appealing
collections can carve their names on the catwalks of Paris,
Milan, London and New York.

So far, there are only a few Asian-born designers such as
Kenzo, Issey Miyake and Anna Sui who are respected in the
Western-dominated fashion industry.

Indonesian designers have been trying in vain to penetrate the
global fashion industry, although the industry here is still
young compared to those in France, England, Italy and Japan.

Fashion in Indonesia has developed well in recent history.
Since the appearance of Non Kawilarang and Peter Sie, in the
1960s, Indonesia's fashion world has demonstrated the potential
of its vast pool of talent.

The 1970s saw the appearance of Iwan Tirta, Harry Dharsono,
Prajudi, Poppy Dharsono and Ramli. In the following decade
Indonesia's fashion world recorded greater progress. New fashion
designers arrived on the scene: Samuel Wattimena, the late Arthur
Harland, Susan Budiarjo, Chossy Latu, Thomas Sigar, Dandy Burhan,
Adrianto Halim, Corrie Kastubi, Ghea Panggabean, Biyan, Edward
Hutabarat, Raizal Rais and Itang Yunaz.

Their names established an historical point of departure for
the development of Indonesia's fashion industry. In the New Order
era there were substantial opportunities for fashion designers to
develop. The National Agency for Export Development (NAFED), for
example, often involved them in international exhibitions,
particularly in leading fashion countries like the United States,
European countries and Australia. They were also involved by the
former government in its trade or cultural missions.

"I was still studying then, and had taken part in New York's
Pret-a-porter for the first time ever. Honestly, I did not think
we received adequate briefings, but after the New York Pret was
over we got an order from Boutique Ethnic in San Francisco," Ghea
said.

She said she sold her first works to the United States some 15
years ago in small quantities, about 50 pieces.

"I dispatched the motifs that I could lay my hands on here and
there. My biggest constraint then was my limited understanding of
this business and a lack of qualified human resources," said
Ghea, reminiscing about the time when her works first drew the
interest of American buyers.

Indeed the biggest obstacle for Indonesia's fashion designers
entering the international market lies in their working method.
We are not yet capable of establishing a fashion industry as we
cling to the domestic fashion industry. No matter how small it
is, the chance is always there for Indonesia to gain greater
access to the international market, but, in the words of Poppy
Dharsono, who has 20 years experience in exporting jeans to the
United States, our designers are yet to get to that level.

"Honestly, although I have been exporting fashion garments
under the trademark of Ramasankara, as a designer I still focus
my attention on the domestic market and concentrate on the local
fashion sector," commented Poppy, former chairperson of the
Indonesian Designers's Association (APPMI).

Poppy said she had received a lot of offers for the
establishment of boutiques in other countries but she believes
there are too many things to take into account, and consequently
attend to, in such ventures. "This is my personal opinion. So, it
is better for me to concentrate here first. But I go on with my
fashionable garment exports to the United States and Germany, "
Poppy said in her studio in Kebayoran Baru, South Jakarta.

Nevertheless, we still have Obin, who is recognized in the
international fashion community. Obin's ethnic batik cloths have
drawn considerable interest from the Japanese community. She is
no designer, but her batik cloths, which are becoming
increasingly popular, are well liked by the Indonesian and
international fashion community.

Obin admitted, however, that to be successful one must be
serious, responsive and hard-working. There was a time for Obin
when she had to battle alone in order to make inroads into the
Japanese market. At first, over the course of five years, she
often took part in exhibitions in Tokyo and carefully observed
the tastes and preferences of the Japanese community. From these
observations she gained an insight which was later expressed
through simple styling.

It is only natural, therefore, that Obin's hard work for
dozens of years have born fruits that she can be proud of.

"That's why I operate a store in Tokyo. I have added a touch
of Indonesia to my shop so that anybody visiting will feel as if
they are in Indonesia," she said with an obvious tinge of pride.
Obin owns boutiques in downtown Tokyo and Nagoya.

This gives her direct access to the Japanese market and she
has no problems with her businesses located there. The human
resources are good and her communication with the boutiques is
also strong. She always emphasizes that everything she has given
has been given out of love.

Both Poppy and Obin agree that if a fashion designer wishes to
enter an international market it will be better for him or her to
fight individually, rather than expecting the government's
assistance. World-famous Japanese fashion designer Kenzo did
everything by himself when he first attempted to gain access to
Paris.

In Indonesia only Biyan and Ghea have achieved success. They
have secured market shares in Asia, including Singapore and
Malaysia, which have been established for 3 years now.

Nevertheless, to be able to make inroads in the international
market, a fashion designer must establish a synergy with larger
companies, just like Biyan has been doing in the last few years
with his XML trademark. So, being a designer is only one
component of the fashion business. A fashion business must have
expert personnel such as a production manager, who amongst other
things is an expert in sewing quality, a factory manager, as well
as marketing and public relations departments. All personnel must
be professional, Poppy stressed.

Poppy added that she herself had experience in hiring non-
professional personnel. Indonesians, she said, are very tolerant
and usually cannot bring themselves to take strict action. In
business everybody must think and act professionally. That's why,
she concluded, our fashion world, mostly still in the nature of a
home industry, is not yet able to gain access to the
international market. Only a few fashion designers have tried to
sell their products to the international market, she added.

Take designer Iwan Tirta, for example. Rachmat Gobel
introduced him to Japan's Epson. Iwan was able to get machinery
using modern technology for the creative development of his batik
motifs. To Iwan, who has loved batik since he began his career as
a fashion designer, the cooperation with Epson, a company
exporting modern machinery, has greatly helped his business. The
development of batik designs will be undertaken by Japan's
computer experts at Iwan's factory, located between Cikarang and
Bogor. Iwan has been consolidating this long-term venture for two
years now.

His motifs will be put onto a computer disk and then developed
through computer software. Very soon Iwan will transfer the batik
motifs onto household articles, such as glasses, plates, cutlery,
cups, etc. He will do all of this in an attempt to enter the
world market. Iwan is lucky to have met Rachmat Gobel, a young
business tycoon with a deep love for Indonesia's arts and
culture. The support that Iwan has enjoyed has greatly assisted
him in developing his home industry into a fashion industry.

A question worth asking at this juncture is, how many
businessmen can be expected to be concerned with our fashion
industry, which can realistically be turned into a national
asset? Unfortunately, in Indonesia, fashion is considered more as
an entertainment product rather than an industrial business. To
seasoned fashion-designers like Ghea and Biyan, however, making
substantial inroads into the international market is achieved by
looking for a potential partner with a good understanding of the
fashion industry. Otherwise, they won't be able to achieve the
maximum benefits from this undertaking due to the astronomical
costs.

At present, every quarter, Ghea dispatches to Singapore and
Malaysia some 300 - 400 pieces. A small quantity indeed, but
enough to give her the opportunity to progress her prospects of
entering the Asian market. Most often, Ghea sends orchid designs
with the styling of embroidered kebaya (a woman's blouse with the
front pinned together), batik gowns, batik scarves and
embroidered items in the ready-to-wear style. Ghea said that she
has seriously cashed in on the opportunity presenting itself now.
She has a special expert to handle this export business with a
well-organized management, she said. The sewing is always
maintained at a high quality and punctuality is always observed.
Now her export business is comfortably operating in its third
year.

Our fashion designers still face many hurdles before being
capable of operating consistently at an international level. Of
course, access can be gained with the assistance of partners
possessing an excellent grasp of the industry. The chance is
remote, but the hope is always there.

It all depends on how designers see the future of an industry
to which they have dedicated their lives for so many years.