A Contemporary Kebaya Collection for Young Adults

Over time, Kebaya gets more abundant in creativity and style. Hence, in reality, many Indonesian women do not understand the standard of wearing Kebaya (Hutabarat, 2014). At the launching of Mien R Uno’s book titled ‘Kebayaku’ Edward Hutabat (2014) are struck with his realization of youngster behaviour:

From the observation described above, the use of Kebaya inclined as several people started to make use of them as a way of cultural preservation. Finding ways to incorporate them within their everyday life.

The primary purpose of this thesis research is to raise awareness of Selasa Berkebaya movement towards young adults by modernizing a ready-to-wear collection. With a new style based on the traditional costume, the young generations will be interested to know more about their culture, which they will appreciate more and want to preserve their culture.

For that reason, the author wants to make a collection inspired by Kebaya. Stongly believes that this will help people understand deeply about the value of their traditional costume and on how it holds a vast cultural heritage. The collection will perceive a high aesthetic value targeting young adults to develop and preserve the country’s culture in the future and incorporating Kebaya according to current trend and market.

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A Contemporary Kebaya Collection for Young Adults

LITERATURE REVIEW

Kebaya, a long-sleeved, tailored over blouse paired with an ankle-length batik sarong (Brenner, 1998). Traditional clothes are a reflection of the people. When people think of Indonesia, the image that came to mind is beautiful Balinese dancers with beautiful fabrics and golden headdresses (“Indonesian Traditional Clothing”, n.d.).

In the discussion of clothes and women, is like reflecting relations that is rich in meaning. Clothing shows one’s national and cultural identity. Kebaya, which has been known by the people of Indonesia as a national dress, and has become a cultural display of Indonesia, worn in various events such as graduations, weddings, and official state events (Cunningham, n.d.). Kebaya s’, and as stated Edward Hutabarat (2013), one of Indonesian fashion designer, believes that ‘simplicity’ is the soul of kebaya.

Kebaya in terms of history is used not only by women in Java, but it is also worn by Dutch women during their colonization on the island. According to Forshee (2006) in the book ‘Culture and Customs of Indonesia’ Kebaya are set as a mark of class, in which it could differentiate the status between priyayi and ordinary people. Thus, it could be seen through textile materials and fabric of subordinates. During that time, kebaya is considered as an interpretation of social distinction including age and class, as well as an indicator of social norms and values. The clothing serves as social marker for both classes and individuals to build the identity people desire (Scholten, 1942).

However, the use of Kebaya as an item of daily clothing has been abandoned by Indonesian women, preferring the use of modern clothes derived from western culture (Sugandy, n.d.) whereas western clothing has become a symbol of women’s modernity, specifically those who live in big cities. Kebaya is still considered to connect women with the past, as well as its values, including respect and subordination of those who have authorities (Nordholt, 2005). Kloppethenburg-Versteegh (1942), who is born and raised in the Indies, stated that

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A Contemporary Kebaya Collection for Young Adults

she admired the sarong and Kebaya as the most appropriate dress for our ladies in the Indies.

Kebaya is considered as Indonesian women’s form of national identity. It could be observed through its image clothing, which in this case is a two- dimensional consisting of the garment structure, its kebaya blouse and traditional Indonesian batik in the form of long cloth that can be sarong or jarik. The fabric of Kebaya could be derived from either a modern fabric and or a traditional Indonesian fabric. The fabric giving meaning whereas Central Javanese are given a full expression towards its textiles, starting with foremost in the wedding ceremony.

During the early days, traditional Kebaya is only seen in the court of the Javanese kingdom. Defined as loose clothing on the upper body used by women (Adriati et al., 2018) It is incorporated with kemben. However, the spread of Islam changes women’s dressing habits (Wulandari, 2017). As shown in a painting from 1598, it is illustrated that women in Java were still bare-chested, this shows the process of development of women’s clothing in Indonesia (Adriati et al., 2018).

Stated in the article “The Kebaya: An Indonesian Traditional Dress for Women” (2017) Eversince, the kebaya has become the formal dress of Indonesia. Kebaya at that time predominantly uses mori fabric. Nonetheless, as time passes, numerous improvements are made to comply further with the current needs, often incorporated with silk and embroideries, done to add designs and colours to the attire.

According to Mike Easey (2009), Marketing is an essential philosophy which defines the business strategy based on the analysis of potential customers. Corporation realizes the importance of meeting customers’ needs so that they can thrive. The concept of consumer behaviour would also have responded to the design and growth of modern marketing on influencing consumer decision (Blackwell, et al, 2001).

Building a fashion brand requires strategy, knowing the purpose and its planning process. Having the ability to understand and use essential tools. The

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A Contemporary Kebaya Collection for Young Adults

fashion industry is very competitive, reputable and is a highly influential business (Garces, 2019). A variety of option for advertising is available. But however, analyzing the targeted market and planning the advertising strategy is crucial (Fibre2Fashion, 2014). An advertising powerhouse, Ogilvy (1982) stated that advertising reflects the mores of society, but it does not influence them.

A research has revealed that young adult is a period where drastic transitions within the concept of thoughts and perceptions (Simpson, 2018). Young adult is generally defined as 18 to 25 years old, mostly the ones that heads to college away from home has the tendency to develop social skills from scratch. Needing to learn and adapt onto a radically different community (“American Academy of Pediatrics”, n.d.). Conceived as a transition phase from childhood to adulthood. Interpreted as modern industrial society, which highlights the productive working life (Weiler, n.d.)

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