Passing away gracefully: Prajudi's last collection
Passing away gracefully: Prajudi's last collection
By Dini S. Djalal
JAKARTA (JP): Fashion shows are often lighthearted occasions,
but last week's Trend 1996 show provoked tears and contemplation.
The death of designer Prajudi Admodirdjo, an integral member
of the show's organizers, the Indonesian Fashion Designers
Council (IPMI), shocked the fashion world to its senses.
That the show was wonderful is a testimony to Prajudi's
legacy. Always the tireless perfectionist, he spent his last
hours in the hospital dictating his vision for the show to
colleagues Biyan and Ghea Sukarya. The results were astonishing.
As Prajudi's last collection was unveiled on the runway, the
audience grew hushed with both awe and grief. His latest designs,
a modern and bold take of traditional tie-dye, not only
highlighted the show, but were perhaps the highlight of his
illustrious career. The fashion world has lost an irreplaceable
talent.
"He has put his soul into IPMI. This is probably how he wants
to go," said close friend Biyan.
Fellow designer Carmanita, who shared a passion for
traditional textiles with Prajudi, agreed that Prajudi would have
wanted the show to go on.
"We can't celebrate too much because we have to pay respect to
Prajudi, but we're not sad for him," said Carmanita. However, the
loss is clearly felt. "He was the most dedicated and hardworking
of all of us. We haven't just lost a friend, but a catalyst," she
said.
Prajudi's hard work was evident not only in his collection,
but throughout the entire show.
This was IPMI's most accomplished show, both in design content
and presentation. The increasing quality of the collections is
apparent, and the designers project an unmistakable self-
confidence.
This confidence is reflected in their invitation of
international press, including editors of Vogue Singapore,
International Textile U.K. and High Fashion Tokyo. Hinke Zeick,
contributing editor of Vogue Singapore, commented, "Indonesian
designers are very good, as good as other Asian designers."
In this tenth anniversary year of the Trend show, IPMI is
aiming for a wider audience.
"There is increasing awareness of fashion among the public,
and of Indonesian fashion amongst the international market," said
IPMI leader Sjamsidar Isa. The yearly trend show is not only the
crux of IPMI's activities, but a public service. "The trend show
is a responsibility that can't be avoided," said Sjamsidar.
Not for everyone
IPMI's derivative show may echo the catwalks of Milan and New
York, but at least they've copied well.
Newlywed Ghea Panggabean's safari up-dates opened the show.
The silhouette was long and flowing: sleeveless shifts in brown
satins and chiffons printed in tiger stripes. Her knee-length
cocktail dress in duchesse satin was seen first at the New York
shows, but her chiffon ball gowns are wonderful -- especially in
mint, the color of the season.
Sharing Ghea's elegant vision are Chossy Latu, Dipa, Widhi
Budimulya, Alex AB, and Valentino Napitupulu, all of whom sent
down knee-length dresses and sumptuous satin gowns. Sadly, a
working girl's social calender allows few occasions for lavish
costumes. Everyone may be trying to be a lady, but these dresses
are definitely not for everyone.
Matronly dresses, however, are eminently more wearable than
Dandy Burhan's incomprehensible glittered dresses, or Didi
Budiardjo's sculpted mermaid gowns. Here the reference is
outlandish Parisian designer Thierry Mugler, and the Indonesian
versions are just as wild. Would you prefer Burhan's knitted gray
pantsuits worn with mile-high (seen at Karl Lagerfeld) wigs or
Budiardjo's black corset-like leotards with big bouffant hair?
Neither: send out my mother's old 1950s dresses and suits again,
please.
And so there they were, in red, black, green, and gold, 1990s
versions of Audrey Hepburn's wardrobe. To call Indonesian
designers uninspired is to shirk responsibility. Indonesian
designers are merely taking the cue of Western designers Miuccia
Prada and Calvin Klein, who are mining the history books rather
than looking ahead. At this rate, fashion is easy. Prada's
influence on Itang Yunasz can be traced down to the silver belt-
buckle and wedge shoes.
Some designer take more obscure references, such as Helmut
Lang for Ronald Gaghana's techno-warrior costumes. Gaghana's op-
art synthetics pushed Indonesian fashion towards new frontiers.
The futuristic influence of Gaghana and his mentor Biyan is also
becoming evident in other IPMI collections, notably Hutama Adhi's
and even Prajudi's. For example, Biyan layered bias-skirts of
organza and satin was a popular silhouette at the show, as are
his embroidered organza. It's a promising development that
Indonesian designers are looking at each other as well as to
Europe for inspiration.
A few designers went their own way, the most successful being
Tuti Cholid, whose painted silk batiks in loveliest indigo were
true works of art. Her fabrics, shaped into sinuous flowing
gowns, were so light and airy that the models looked afloat in
the sky. Carmanita presented urban warriors in tie-dyed cottons:
great stuff, though predictable. Stephanus Hamy committed the
ultimate fashion faux-pas and paired sandals with socks, and
innovative pleats with animal-printed chiffons. Hamy's male
models came out in leopard-print stockings -- here is a man
without fear and also questionable taste.
What's good taste anyway, Robby Tumewu asks in his vibrant
collection. The model wore broom-like wigs in shocking colors,
with skimpy lycra separates to match what there was of it.
Hotpants, hipsters, cropped tops, sashayed down in good fun.
"I think I've been spending too much time in Bali, that's my
inspiration," said Tumewu. Zooming across continents for a
fashion moment may be unnecessary after all.