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Model Bingkai Kurasi Pada Jember Fashion Carnival

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Model Bingkai Kurasi Pada Jember Fashion Carnival Kurasi Fashion: Model Bingkai Kurasi pada Jember Fashion Carnival Suharno, Cahyadi Dewanto Program Studi Tata Rias dan Busana, Program Studi Televisi dan Film Fakultas Seni Rupa dan Desain, Fakultas Media dan Budaya Institut Seni Budaya Indonesia (ISBI) Bandung Jalan Buahbatu 212 Bandung, 40265 Email: [email protected]; [email protected] ABSTRACT This research is based on empirical facts, that until now there is no a carnival fashion curation model that can be used as a subject of study and a practical guide curation of a carnival fashion. Therefore, this study aims to formulate a model used as an important part of fashion events, that not only off er artworks, but also a discourse that can be scientifi cally accountable. For this purpose, the object of this research is the event of Jember Fashion Carnival (JFC). This choice is based on the fact that JFC is the 3rd largest fashion carnival of the world, and the concept of its curation has not been studied. The formal object is phenomenology; an approach that emphasizes a direct observation in the fi e ld, and its data analysis is interpretative. This approach focuses on the ideology of curation, while emphasizing the involvement of researchers in clarifying assumptions and off ering new perspectives. The results of this study is a model for a curation fashion carnival that can be used by a fashion cura- tor to curate fashion events, especially in a fashion carnival. Keywords: curation, fashion, carnival, model ABSTRAK Penelitian ini didasarkan pada fakta empirik bahwa hingga kini belum ada model ku- rasi fashion carnival yang dapat menjadi bahan kajian, dan panduan praktik kurasi fashion carnival. Oleh sebab itu, penelitian ini bertujuan merumuskan model tersebut agar menjadi bagian penting dari perhelatan fashion yang bukan hanya menawarkan karya, namun juga wacana yang dapat dipertanggungjawabkan secara ilmiah. Untuk kepentingan tersebut, objek material penelitian ini adalah perhelatan Jember Fashion Carnival (JFC). Pilihan ini didasarkan pertimbangan bahwa JFC merupakan karnaval fashion terbesar ke-3 dunia, dan konsep kurasinya belum ada yang meneliti. Adapun objek formalnya adalah fenomenolo- gi; sebuah pendekatan yang menekankan observasi langsung di lapangan dan analisa data- nya bersifat interpretatif. Pendekatan ini memusatkan perhatian pada ideologi pengkurasi, sekaligus menekankan keterlibatan peneliti dalam memperjelas asumsi dan menawarkan perspektif baru. Hasil penelitian ini adalah model kurasi fashion carnival yang dapat digu- nakan kurator fashion untuk mengkurasi perhelatan fashion, khususnya fashion carnival. Kata kunci: kurasi, fashion, karnaval, model Panggung Vol. 28 No. 1, Maret 2018 119 PENDAHULUAN bagi museum dan galeri. Craik (2009: 187) Tidak dapat dipungkiri bahwa saat ini menjelaskan, tantangan tersebut adalah fashion dianggap sebagai kekuatan budaya bagaimana menampilkan fashion yang tidak penting dan menjadi objek studi yang seri- lagi hanya dianggap sebagai artefak yang us. Breward (2003: 9) mencatat bahwa fashi- menarik dan mewakili periode budaya on telah menjadi objek studi setara dengan tertentu, namun disajikan sebagai bentuk bentuk seni populer lainnya. Pernyataan seni dengan memperhatikan garis, bentuk, ini cukup beralasan, karena seni telah lama warna, dan sebagai obyek kinestetik, serta mempengaruhi fashion. Sejak awal abad ditempatkan dalam konteks sosial dan bu- ke-20, gaya lukisan neoplastic telah mempe- daya sebagai simbol trend tertentu. ngaruhi fashion di Eropa. Neoplastic adalah Persoalannya, praktik kerja kurasi gaya atau aliran dalam seni rupa abstrak dalam perhelatan fashion yang menempat- yang digagas Piet Mondrian. Gaya ini me- kan fashion, desainer, dan publik dalam kon- nyatukan high art dan popular culture (Troy, teks kuratorial adalah hal yang baru. Hal ini 2006: 15-36). Penyatuan fashion dengan seni dapat dipahami karena istilah fashion cura- rupa secara tegas dicatat Palmor (2015: 40), tion sendiri juga masih baru sebagaimana bahwa gaya Mondrian dalam fashion telah istilah fashion theory (Buick, 2012: 91-92). ada sejak 2 Agustus 1965. Apalagi praktik kurasi di ranah seni rupa Salah satu desainer fashion yang cukup di Indonesia baru mulai secara nyata pada fenomenal dalam menerjemahkan gaya dekade 90an. Sudah barang tentu hal ini neoplastic ke dunia fashion adalah Yves Saint mempengaruhi kelangkaan pustaka kurasi Laurent. Kreativitas Laurent bahkan men- fashion di Indonesia. Konsekuensi logisnya, jadikan Carla Bruni menyebutkan, “With konsep kurasi pameran fashion yang dapat Saint Laurent, art became fashion” (Klein, dijadikan bahan kajian ilmiah dan panduan 2015). Melalui kreativitasnya, Laurent mela- praktik kurasi fashion sulit didapat. hirkan karya-karya fashion yang mencer- Berdasarkan hal di atas, tujuan peneli- minkan aliran dalam seni rupa modern, tian ini adalah untuk merumuskan konsep yakni dari modernisme, impresionisme, bingkai kurasi fashion yang dapat dijadikan hingga pop art. Hal ini pulalah yang men- rujukan praktik kurasi fashion yang profe- jadi landasan pernyataan Tsotsos (2014: 2), sional, khususnya untuk kepentingan kar- bahwa para desainer kontemporer telah naval. Hal ini mendasar karena pustaka ten- mengonfi gurasi metode penyajian fashion tang kuratorial yang ada lebih bicara soal dari tradisional menjadi modern. kurasi seni rupa, belum menyentuh kura- Ketika fashion menjelma menjadi bentuk si fashion (periksa misalnya Hujatnikaje- seni, keberadaan kurator fashion menjadi nnong, 2015 dan Susanto, 2004). Walaupun penting. Hal ini dikarenakan kuratorlah demikian, bukan berarti penelitian ini tidak yang membangun dialog untuk menyatu- penting bagi praktik kurasi fashion di luar kan karya-seniman dengan pasar-media- karnaval. Hal ini dikarenakan praktik ku- publik dalam suatu wacana-suasana-tempat rasi pada intinya adalah menyatukan karya, pameran (Susanto, 2004: 7). Kurator adalah seniman, dan publik dalam bingkai wacana sosok penting yang memiliki kuasa mengo- tertentu yang diusung kurator dalam ruang lah citra karya di ruang pameran, sehingga perhelatan seni, seperti di galeri, museum, ada pepatah yang mengatakan,“behind eve- jalanan, dan lain sebagainya. ry great artist is a great curator.” Untuk keperluan di atas, objek mate- Fenomena fashion menjelma menjadi rial dalam penelitian ini adalah perhelatan bentuk seni juga menjadi tantangan besar karnaval di Jember Fashion Carnival (JFC), Suharno, Dewanto: Kurasi Fashion: Model Bingkai Kurasi pada Jember Fashion Carnival 120 sebuah perhelatan karnaval tahunan ke- yang dilakukan adalah pengumpulan las dunia yang persoalan kurasinya belum data, analisis, dan penarikan simpulan. disentuh peneliti lain. Peneliti terdahulu Data dalam penelitian ini diperoleh dari lebih menyoroti aspek di luar kurasi fashi- studi pustaka, studi piktorial, dan studi on, seperti konstruksi identitas (Jannah, lapangan. Studi pustaka dilakukan untuk 2012: 135-152), branding kota Jember (Cah- melacak praktik kurasi fashion dari perspek- yani, 2015), dan intertekstualitas dari JFC tif teoritik. Studi piktorial dilakukan untuk (Denisa, 2016: 430-443). Selanjutnya, perhe- mendapatkan data visual tekait praktik latan JFC yang dikaji adalah karnaval dua kurasi fashion di JFC yang telah dilakukan. tahun terakhir, yakni JFC ke-15 (2016) yang Studi lapangan dilakukan untuk mendapat- mengusung tema Revival, dan JFC ke-16 kan data kongkrit kekinian terkait praktik (2017) yang mengusung tema Victory. Dua kurasi di JFC. Analisis data dilakukan de- perhelatan ini dipandang cukup untuk me- ngan mereduksi dan mengolah data agar lihat garis besar kurasi dalam situasi yang diperoleh data yang relevan dengan aspek berbeda. keapaan, kemengapaan, kebagaimanaan, dan kemanaan dari konsep kurasi fashion. METODE Penelitian ini adalah investigasi yang HASIL DAN PEMBAHASAN sistematis, terkontrol, empiris, dan kritis Perhelatan Fashion terhadap kurasi fashion dalam kaitannya Perhelatan fashion adalah bentangan dengan fenomena kurasi di JFC. Meng- teks, dan kurator bertugas menenun, me- ingat penelitian ini ingin menjawab per- maknai, dan menarasikan untaian teks tanyaan mendalam, detail, dan khusus, tersebut kepada publik. Perhelatan ini seti- maka digunakan paradigma kualitatif daknya ada tiga jenis, yakni pameran fashi- yang menekankan pada pemahaman kon- on, fashion show, dan fashion carnival. Ke- sep kurasi fashion di JFC dan eksekusinya tiga perhelatan ini dibingkai dengan tema berdasarkan kondisi realitas atau natural tertentu yang merupakan payung wacana se ing yang holistis, kompleks, dan rinci. dari perhelatan tersebut. Oleh sebab itu, digunakan pendekatan Pameran fashion adalah karya fashion fenomenologi sebagaimana dimaksud o- yang dipamerkan di ruang galeri, museum, leh Brouwer (1984: 3-4), yakni “a way of dan ruang alternatif lainnya. Pada umum- looking at think” yang berbeda. Brouwer nya pameran ini tidak memerlukan model menganalogikan tidak mungkin memaksa untuk memajang karya. Hal ini berbeda orang buta memahami bahwa ada banyak dengan fashion show yang harus meng- warna kuning pada sebuah lukisan karena gunakan model saat mempertunjukkan orang tersebut tidak melihatnya. Cara ter- fashion dalam ruang dan waktu tertentu. baiknya adalah mengikuti deskripsi warna Adapun karnaval fashion adalah perhelatan kuning yang digambarkan oleh orang terse- yang menampilkan karya fashion secara he- but. Creswell (1998:15) menyebut situasi ini laran (arak-arakan). dengan situasi alami. Situasi alami dalam Karnaval fashion pada dasarnya adalah konteks penelitian ini adalah kondisi alami fashion
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