28 6. Chapter 6 : Final Collection and Promotion The chapter consist of solutions of the final product and the promotional tools as well strategies. 7. Chapter 7 : Conclusion The chapter contains the summary of the whole project researches that has been done and recommendation. CHAPTER 2 THEORITICAL FOUNDATION 2.1 Theory of Fashion George P. Fox once said in his book Fashion: The Power That Influences the World, “Fashion is and has been and will be, through all ages, the outward form through which the mind speaks to the universe. Fashion in all languages designs to make, shape, model, adapt, embellish, and adorn.”(Elaine Stone, 2008). As for fashion and appearance have a relationship with identity, while on the other hand it can also be how we express out identity. As a form of communicating, fashion speaks about the users gender, class or status and others but in a way that they don’t “speak” straight to you and that is why fashion is open to misinterpretation. (James Laver, 2002) Fashion can and has influenced as well as it has been influenced by many parts of life such history, architecture, music, art, and etc. That is why there are many theories and factors regarding fashion. 29 While fashion includes various aspects it is needed to distinguish the differences and how it is connected. The terminology of fashion it self can be defined as a style that is accepted and used by the majority of a group at any one time, no matter how small that group. It is a fact of social psychology. And style is a characteristic or distinctive artistic expression or presentation (Elaine Stone, 2008). Another aspects of fashion is change, and it is one of the aspect that makes fashion interesting. The ephemeral world of fashion is once told by Karl Lagerfeld as,”…a train that waits for nobody. Get on it, or it’s gone.” Since everything can be an inspiration in fashion, world events that is happening or simply people’s daily routines are one of the reasons why fashion changes or it changes because people want to see something new and they are bored with what they already have. Taste is also one of the components of fashion that refers as an individual’s preference for one style or another. And then there is acceptance, without acceptance there is no fashion because to make it a fashion consumer must buy and wear a style or as Karl Lagerfeld said, “There’s no fashion if nobody buys it.”(Gini Stephens Frings, 2008) Speaking of acceptance there are several phases of acceptance in fashion known as the fashion cycles (figure 2.1). Starts with the introductory which is style and trends introduced at high price level or designer wear. Then after the new styles are introduced and has gain more popularity in the general public, these popular styles are copied or adapted by mainstream manufacturers to make them more available and sold at lower price. And when a fashion is at the peak of their popularity the demands for more manufacturers to copy the style or produce adaptations of it at various prices increases. Then after they have gone tired of the many mass-produced copy of that style, fashion-conscious people starts to decline the style and begin to look for something new. In the last phase of the cycle, the style 30 is already rejected and out of fashion, also consumers have turned to new looks (Gini Stephens Frings, 2008). According to the fashion cycle, a new brand such as the writer’s tend to make is included in the introductory phase as it is new and has not gain popularity or recognition yet. Figure: 2.1 Fashion Cycle Source: http://textilelearner.blogspot.com/2012/09/fashion-cycle-steps-of-fashion- cycles.html 2.2 The Concept of Creative Economy The term creative industry is first emerged in 1994 but it gained wider exposure in 1997 with the Creative Industry Task Forces set up by the United Kingdom’s Department of Culture, Media, and Sports. Though looking through history, the base of creative economy itself has been around since 1700 where Queen Ann of England created the Statute of Ann that is the foundation of copyright law. Since the development of creative industry, it has broadened the scope of cultural industries beyond arts and has marked a shift in approach to potential commercial activities that were regarded in non-economic terms (UN: Creative Economy Report, 2010). Although until now creative economy has yet to have generally accepted definition, it can be defined as those requiring creativity, skill and talent, with 31 potential for wealth and job creation through the exploitation of their intellectual property (DCMS, 2001). There are different models that classified the creative industry which are: 1. UK DCMS model Derives in the late 1990s in the United Kingdom to reposition British economy as economy driven by creativity and innovation in a globally competitive world (DCMS, 2001). 2. Symbolic text model This model approach the cultural industries arising from the critical- cultural-studies tradition as it exists in Europe and especially the United Kingdom (Hesmondhalgh, 2002). 3. Concentric circles model The model is based on the proportions of the cultural value of cultural goods that gives the industries their most distinguishing characteristic (UN: Creative Economy Report, 2010). 4. WIPO copyright model The model is based on the industries involved directly and indirectly in the whole process of making a copyrighted works (World Intellectual Property Organization, 2003). In Figure 2.2 it can be seen the classifications of industries included in each models stated on the above. 32 Figure 2.2 Creative Industry from Different Models Source: UN: Creative Economy Report, 2010. 2.2.1 Growth of Indonesia’s Creative Economy With archipelago that spans over thousands of islands , Indonesia is a country that is rich of tradition, heritages, and culture. Our cultural diversity and heritages is a great foundation for the emerging creative industry. The creative economy in Indonesia has developed since the Ministry of Tourism and Creative Economy was formed in 2011 with Mari Elka Pangestu as the minister. The reason why there is a link in between tourism and creative economy is because it is expected for the creative products to attracts more foreigners to visit Indonesia (The Jakarta Post, 2014). The Indonesia creative industry itself cope many creative sectors including fashion, music, art, design, film, videos and photography, handicrafts, advertising, architecture, television and radio, publishing, interactive games and software development (www.visitindonesia.co.in). In Global Business Guide Indonesia it is stated that such creativity is contributing a total of 7.2% of GDP and 9% of export value in 2010. The potential of the creative industry is a core priority of the government through the Ministy of 33 Trade, with the target of 8% of GDP for 2011 as well as increasing total export value to 12% by 2015.Contribution to exports increased by over 35% from 2006 to 2010 (Ministry of Trade, n.d.) which is impressive considering its relative novelty as a commercial subsector. The concept of creative economy is related to the writer’s project is because in an interview with former Indonesian Minister of Tourism and Creative Economy, Mari Elka Pangestu, she explained that everything that is involved in the creative industry, whether it is the manufacturer, publishing companies, distributors or even the designers, are making a contribution to the creative economy. And regarding to the project, whenever a local culture is integrated with particular design and given an added value of use, for instance turned into a clothing, and being sold to customer which means creating economy activity that is included as a creative economy. 2.3 History of Baduy The Baduy or Kanekes people are ethnic group that lives in Banten (figure 2.3). They are known for their way of living that preserve the nature by isolating themselves living inside the forest where no outside culture or modernization could come in. Baduy is divided into 2 ethnic groups, which are Baduy Dalam (Inner Baduy / White Baduy/ Urang Tangtu) and Baduy Luar (Outer Baduy / Black Baduy/ Urang Panamping). The differences between the two is that Baduy Luar have more freedom than Baduy Dalam in terms of clothing and way of living. They resides in Kanekes village in the Banten province. The archaeologist Dr. Haris Sukendar believes that the first Baduy arrived in Kanekes since about the 5th century. The conclusion is based upon the examination of megalithic architectural such as the terraced holy site known as Sasaka Domas. It is also believed that the Baduy were refugees from a Sundanese Hindu kingdom expelled by the adherents of Islam (Don 34 Hasman, 2012). The ancestor messages or is basically their life philosophy. It thought them to keep the nature in the state that they are and not to change a single bit of it. Figure 2.3 Baduy Map and Location Source : google.com For Baduy Dalam residents, they are allowed to go out from the village to visit the modern metropolis city of Jakarta. They have absorbed the modern culture that appears in the world but they won’t apply it to their own lives and that is how they preserve the tradition. The men are usually the ones who do the visits, as it also requires a lot of stamina for such trips that might be to tiring for the women to bear. The Baduy Dalam residents are not allowed to wear shoes or ride any vehicle, they chose to go barefoot and walk everywhere they go because it is a part of their beliefs 35 and a way of them to practice it.