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.