More of the same in fashion's kaleidoscope

More of the same in fashion's kaleidoscope

Muara Bagdja, Contributor, Jakarta

The journey of the Indonesian fashion industry, with Jakarta-
based designers remaining the trendsetters, gives reason for
optimism on the one hand but cause for concern on the other.

Competition between local and international fashion brands
still color the business. Designers have the opportunity to
survive by catering to the upper-class market with its many
consumers who are willing to spend.

That was the defining picture of fashion through most of the
year.

It was only after mid-year that there was a bit more optimism,
with an increasing number of solo fashion shows, probably the
most since the monetary crisis hit the country in 1998.

There was Sebastian Gunawan with his glamorous gowns, Didi
Budiardjo with his collection inspired by the richness of
Sumatra, Poppy Dharsono with her new, spirited designs, Stephanus
Hamy delving into Eastern themes, Widhi Budimulia displaying his
simple elegant style and talented Carmanita turning her hand and
head to pieces cultivated from Papuan culture.

The young design team Urban Crew came out with their designs
owing much to 1940s' pilot culture. Oscar Lawalata presented his
couture collection while up-and-coming Andrea Sutisno silenced
the cynics who criticized her as a rich kid dabbling in fashion
by showing refreshing floral-inspired designs with a touch of
1920s' flapper style.

Several designers who have only taken private orders in the
past made their debut collections, including Adrian Gan and Susi
Lucon. Australian-trained Yunita Harun showed promise in her
first collection, held in November.

The two Indonesian designers' associations, the Indonesian
Fashion Designers Association (IPMI) and the Association of the
Indonesian Fashion Designing Entrepreneurs (APPMI), still made
"trend shows" part of their annual agenda as their responsibility
for the development of fashion in the country.

After an absence of 16 years from the country's fashion world,
pioneering designer Peter Sie made a triumphal return by showing
a retrospective of his works in conjunction with the launch of
his autobiography.

Clearly, fashion, still has its market despite the turmoil of
recent years.

Today's fashion shows are neither merely about spending money
to present the image of designers nor making a statement about
the designers' fashion image and their profession. The fashion
show is part of business to embrace buyers, and they have been
adjusted to fit consumer tastes.

Since the monetary crisis, consumers, now more discriminating
about how they spend their money, are no longer dictated to by
the designers.

High-end consumers present the biggest potential as buyers,
but even they, with the slump of the rupiah in value to the U.S.
dollar, are looking to the more affordable clothes of local
designers.

This is reflected in the many Indonesian fashion shows in
2002. Trend shows have converged to shape the style consumers
will prefer next year, such as glamorous evening gowns showered
in beads, sequins and embroidery, with such adornment being
considered added value.

Unsurprisingly, younger contemporary designers like Oscar and
Andrea, previously drawn to designing for the teen market, have
now joined the ranks of innovators with gorgeous and sparkling
attire, which is crafted exclusively rather than mass produced.

While complete collections from casual wear, work suits to
gowns were the main highlights of fashion shows until recently,
today's shows only feature cocktail and evening gown designs.

This situation is a return to fashion of the 1970s, when
garments were not yet produced. A limited circle of women
controlled the fashion trends at that time by ordering their
apparel from designers instead of buying from department stores.

Most designers had to work hard to compete with foreign brand
garments, which were of higher quality and offered more
attractive styles. But the opportunities were there for exclusive
items and made to order products.

On the down side, the fashion industry today is lacking in
creativity. With most designers bowing to the market taste, their
collections have not developed properly. Their designs present
commercial goods with standard patterns, which are safe and
salable. Emphasis is placed on sequins and beads rather than on
significant changes in styles or in new and inspiring ways of
processing materials.

A divide, therefore, is increasingly obvious between global
and local trends, with the former leading to romantic gowns in
relaxed, loose forms made of fine and thin material. Shiny
elements are being abandoned and replaced by fabric and detailed
arrangements like ruffles, cuffs and textures.

Amid the local comeback of elegant gowns, however, traditional
clothes like kebaya (blouse) and sarong continue to hold their
own as many women still choose them for special occasions. Wasta
Prema, an association of traditional clothing buffs, has invited
several designers to give a fresh look to traditional attire with
new patterns, while processing textile of this type into modern
wear.

A number of designers are attempting to put Indonesian nuances
into modern products. IPMI's show this year was also dominated by
sophisticated ethnic styles. Some APPMI members, too, utilized
traditional textile potential to turn out exquisite works.

Obin, for instance, keeps experimenting to enrich batiks and
cotton fabrics by presenting texturized textile, including
designs with smocking in porcupine-like needles.

The fear of a loss of traditional features is thus
unwarranted, because the strong tendency toward global styles is
accompanied by an even greater desire to return to local
characteristics to ward off monotony.

Designers' business and creative activities in 2002 are likely
to follow the same path. Much will depend on whether domestic
economic, political and security conditions return to normal.

Such developments should not be seen as a negative side of the
industry. While garment products in the past became the favorite
of consumers, many designers are now in the exclusive design line
as a means of survival and to further boost this, basically, fad
trade. The wheel of fashion will continue to turn.