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. The Baduy’s religious beliefs is known as Sunda

Wiwitan, and they follow the Prophet Adam way of life (Don Hasman, 2012).

Baduy’s way of life revolves around the rituals they do, including the obligatory duties such as:

1. Clearing the land

2. Pruning trees

3. Burning dried leaves and branches

4. Planting seeds or grains

5. Catching freshwater fish for ceremonies

6. Hunting wild animals for ceremonies

7. Partaking of the first rice harvested and census-taking known as

ngalaksa

8. Annual formal visit to Indonesian government offices

9. Pilgrimage to and prayers at Sasaka Domas

The last five duties are done by the men only and others are done by both men and women, and most of the first four duties revolves around the rice cultivation activities. In Baduy, the gender relations are based on the principal that both men and women are equal but with different responsibilities. The women of Baduy usually perform a less risky task such as household chores, weaving cloth and sewing, helping to clear the rice fields for planting, sowing rice, weeding, and harvesting rice

(Don Hasman, 2012). Speaking about the rice cultivation, the rice field is where they spent most of their day at. They too grow local vegetables and palm sugar is also one of their greatest commodities.

Regarding of how they are very much attached to their tradition, when the author asked their opinion about the modern world Pak Mursyid, one of the member 36 of Baduy Dalam said, “Maybe they have different purpose of life and maybe that’s what their life is designed for and we respect that as well as they respect our way of living and our purpose of life. In the end we all have a purpose to live, but it is up to the individuals themselves to do what’s right for them.”

These days Baduy has become a part of Indonesia’s tourism and the interest has increased. Tourists come to experience their way of living or even to buy their crafts. According to Kompas.com, the demands of Baduy’s tenun/woven fabric and batik is quite high that domestic tourists come to Baduy almost everyday.

Even though a lot of visitors are coming to Baduy, as for Baduy Dalam they have some rules and restrictions that visitors should comply with such as respect their culture. They will ask visitors to turn off technological devices such phones and cameras and shouldn’t use it whilst in Baduy Dalam, do not litter, preserve and respect the nature, do not catch or kill the animals you meet, do not consume alcohol, and visitors are also not allowed to use soap while bathing in Baduy Dalam due to the chemicals in the soap that might contaminate the water. Foreigners (those who are not Indonesian) are not allowed to come in to Baduy Dalam. And visitors may not visit Baduy Dalam in the Kawalu months (Ivan Masdudin, 2011).

As the world changes, in term economical condition the Baduy is affected too. In the past the Baduy use the method of barter for transaction but nowadays they are accepting Indonesian Rupiah because they need it to outsource for foods and appliances that they do not grow or make inside the Baduy. They obtain money from selling their crafts and also from their own production sources such as palm sugar.

2.3.1 Baduy’s Clothing

When it comes to their clothing, Baduy Luar is more free to wear whatever they want though they still wear their traditional batik cloth as ‘sarong’ and batik 37 scarves that is called “romal” for their head scarves (figure 2.4) As for Baduy Dalam, their clothing (figure 2.5) are more restricted to their tradition. They are only allowed to wear the color black that represents the darkness of the world before there is light, and white that represents the illuminant light that appears after the darkness. The color white also defines purity and honesty. The men wear a top that has no buttons at all called “jamang” and a tenun/woven sarong called “suat samping”, and this suat samping is available in different stripes motives (figure 2.6)

Figure: 2.4 Baduy Dalam’s Mens Clothing

Source: Author’s own 38

Figure: 2.5 Baduy Luar’s Mens Clothing

Source: Author’s own

Figure: 2.6 Kinds of Suat Samping Aros

Source: Adapted from Don Hasman, Filomena Reiss, Urang Kanekes Baduy People, 2012.

As to why there are different motives of suat samping, they are unable to explain why and stated that it is used differently accordingly to each individual’s taste. For the woman, they wear “kemben” (a cloth used to wrap their bust) inside their 39

“jamang” and their the suat samping is rather different because it is plain black with no motives. It is also forbidden for the Baduy Dalam to wear footwear and also underwear. Same with the Baduy Luar, the men of Baduy Dalam also wears a head scarves, but theirs is in white and called “telekung”.

In an interview with Pak Mursyid of Baduy Dalam he explained that the reason why the Baduys still wears their traditional clothes proudly is because for them a clothing represents their identity and it is how they want to be known and be set apart from others.

2.3.2 Baduy’s Craft

Crafts are born out of practical, social, and spiritual needs and are dependent on nurturing by society (Indonesia 1945 -1955: The First Fifty Years, 1995). Like other parts of Indonesia that offers beautiful crafts that define their culture, Baduy also has it in their culture. Coming to Baduy as a tourist whether to Baduy Dalam or

Baduy Luar visitors would be offered crafts as souvenirs to buy such as woven fabric, bracelets, bags called ‘koja’ and ‘jarog’, their traditional hand embroidered tops or as they called ‘jamang’ and even their machete. Though these days their woven fabric are the ones that has been attracting tourist (www.kompas.com). The woven fabrics offered are from both Baduy Dalam and Luar, while the Baduy Dalam offers more minimalist looking striped fabric of ‘samping aros’, the Baduy Luar woven fabric is available in many beautiful vibrant colors. Their ‘selendang suat semata’, ‘suat adu mancung’ and ‘suat songket’ (figure 2.7) are probably those of their most sought after fabric (Filomena Reiss, 2012). 40

Figure: 2.7 Different Kinds of Suat

According to the Jaro Dainah (the liaison officer to Indonesian Government for the whole Baduy comunity) in an interview, there are currently around 200 woven makers in Baduy , with that capacity of workers and products created it would be unfortunate if that one Indonesia’s craft is lacking of introduction and popularity because they too want to their work to be seen. The weavers are located in 17 of the

Baduy villages including the Baduy Dalam villages. It is believed that the urang tangtu and urang panamping or the Baduy were already weaving cloth in the 17th century even before the Dutch occupied Indonesia. There are two types of cotton that were grown in the Baduy, first is kapas mori which is a tall cotton plant that produces mores cotton, and there’s kapas leutik, a shorter cotton plant with a finer fiber. Nowadays the weavers buy the factory-spun thread that’s available from the entrepreneurs from Cipaler, Cigowel, and Gajeboh villages. The also purchased weaving materials from Majalaya in a form of woven cloth. Today, the Baduy depend mainly upon chemical dying for their woven fabrics, although there are still some weavers that uses natural dying. There is a trading system between the weaver and the textile dealer called paparonan, when a weaver doesn’t have enough money 41 to purchase yarn, she is given enough thread to weave two textile then once they’re finished one of the finished textile is given back to the dealer and the weaver keeps the other (Don Hasman, 2012).

2.4 Minimalism

The term of minimalism itself is actually an art movement in the 60s that usually characterized by its geometric forms and industrial materials. The artist

Donald Judd, who became famous for his minimalist art describes minimalist pieces as “the simple expression of complex thought” (Harriet Walker, 2011). Though minimalism can be found in other things beside art, for instance in life there is a minimalist way of life. ”Minimalism is a tool used to rid yourself of life’s excess in favor of focusing on what’s important so you can find happiness, fulfillment, and freedom” (theminimalists.com). Known as simple living, it could be defined as a fuzz free way of living and this term is actually related to the way of life of the

Baduy, because they are able to find joy and happiness in life with only what they have. Another thing about the Baduy is that their purpose of life is already set and it is what they chose to live by with, they also live revolving the rituals and duties they have, so everything they do is already efficient for their life, thus being minimalist.

In fashion these days people are very much drawn into the minimalist fashion and the trend has been growing for years. Though nowadays there are slight misunderstandings of what minimalism fashion really is, especially with the style of normcore where they try to dress as simple, normal and boring as possible and it is actually not minimalist fashion (Tori Telfer, 2014). The Calvin Klein designer,

Francisco Costa who is famous for his minimalist fashion designs once said,

“Minimalism has become a loose synonym of simplicity, but to me that does not 42 accurately acknowledge the achievement of work. Within these walls, minimalism is about creating a perfect balance out of imbalance – about pairing shapes, fabrics, proportions, and colors that speak to the harmony of the whole.”(modenodeblog.com). Though a definition to minimalism itself tend to be abstract (Harriet Walker, 2011). Minimalist fashion simplifies silhouette, being bare and often bold it offers a palette of neutral tone (Alicia Kennedy, E.Banis Stoehrer,

& Jay Calderin, 2013).

2.5 Color Theory

Color theory is a set of principles used to creating a harmonious color combinations (www.color-wheel-pro.com). The color wheel is the basic tool to combine colors. Colors is divided into primary, secondary, and tertiary colors.

Primary colors are the base of all colors, which are blue, red and yellow. Within those primary colors you combine it and you’ll get a secondary colors. As for tertiary is formed by mixing both primary and secondary color (figure 2.8). While the black and white is considered as neutrals that can be further used to control the color gradation.

Figure 2.8 Color Wheel

Source: http://www.colormatters.com/color-and-design/basic-color-theory

In fashion, the determination of color effects the target market as it is believed by color forecaster that different market segment respond to different 43 colors. Color trend should be differentiated by market segment, brand identity, and price point for instance most established brands have distinct brand identities, price points and color palettes that suits their core target markets. Through their identification in brands, market segments, cultural trends and fashion tribe, color has an emotional appeal for consumers. As color is also cyclical in nature, in the development of a new color pallet the color forecaster will reference previous and current color palettes. And in the application of this seasonal color forecast to suit individual products it is again requires a deep understanding in their market segments, brand identities and the current color cycles. (Kate Scully, 2012).

2.6 Psychology of Color

Color has an important role, not only in fashion but in any other aspects of designs and life it self. Color can be used to describe something you see, it can set a mood, color can make a statement or even attract your attention, it is a shortcut that conveys messages quickly and directly without words (Kate Scully). In a way color is a form of communication. Color can also symbolizes a characteristic, for instance the color white always be referred as something pure and the color red is referred as something aggressive, bold and is exciting (www.colour-affects.co.uk). In fashion, from the colors you wear can determine the style or look you try to portray and how you want to be seen, for instance wearing the color black can be considered as simple and elegant. While wearing the color red oozes sexiness and being bold, it shows power (Kate Scully, 2012). And for years color has also been a way to differentiate gender, for example blue is the color for boys and pink for girls. The understanding and communicating through color is also a result of cultural learning, for instance in some culture they mourn in black and some mourn in white. 44

In the ethnic group of Baduy Dalam, color is an important element to show the meaning of their way of life. They chose only the color of black and white to represent their life values such as living in peace, being pure, and honest, that is why black and white are the main color in this project. And for the author’s project taking the inspiration from the Baduy’s she will also be using these colors as well as the primary color of grey The dominant color of black and white used in the collection and brand identity is to make it easier for people to mixed and match it with other clothes and also it represents well the main inspiration which is the Baduy. Though these colors of black, white, and grey have distinctive characteristic according to

Pantone (Eiseman, 2000).

Black : Powerful, elegant, mysterious, heavy, basic, bold, classic, strong,

expensive, magical, nighttime, invulnarable, prestigious, sober

Pure White : Pure, clean, sterile, innocent, silent, lightweight, airy, bright, glistening

Neutral Gray : Classic, cool, sober, corporate, practical, timeless, quality, quiet, ghostly

2.7 Designer Influence

Color has an important role, not only in fashion but in any other aspects of designs and life it self. Color can be used to describe something you see, it can set a

2.7.1 Helmut Lang

Created in 1986 by the Austrian designer Helmut Lang, the brand is known for its minimalist design and complex shapes. Alongside Jil Sander and Calvin Klein,

Helmut Lang became one of the quentessential minimalist designer of the nineties.

Eventhough the New York headquartered brand is now under the creative direction 45 of Nicole and Michael Colovos, they’re still able to maintain the brand’s modern and minimal root.

Helmut Lang collection in the Spring/Summer 2014 has been one of the design influence in the author’s collection. The interesting assymetrical cuts and slit seams in the collection has been an inspiration for the silhouette of the author’s design. The author is also trying to achieve the clean as well as crisp look of Helmut

Lang designs.

Figure 2.9 Helmut Lang Spring / Summer 2014

Source : http://www.vogue.com/fashion-week/862101/helmut-lang-spring-2014/

2.7.2 Marni

Marni is a famous Italian fashion label started in 1994 by Consuelo

Castiglioni. They are known for their purist’s approach to lines and silhouettes combined with quirky bright colors and bold patterns (nymag.com, n.d).

The author takes some cues from Marni Spring/Summer 2015 collection, and is inspired by the way the collection play with different fabrics in each garment in an interesting way (figure 2.10). The drop shoulder sleeves and the assymetry of 46 garments featured in the collection has also been an inspiration for the silhouette of the author’s design.

Figure 2.10 Marni Spring / Summer 2015

Source : http://www.style.com/fashion-shows/spring-2015-ready-to-wear/marni 47

Figure 2.11 Marni Spring / Summer 2015

Source : http://www.style.com/fashion-shows/spring-2015-ready-to-wear/marni