ARTIKEL KEBAYA ENCIM MODERNISASI

Long considered as an exotic weave, in the eyes of designer’s and consumers alike, Ikat in its Bandha avatar in Odisha has really grown into the gold standard. The design expertise and finesse of work here has rendered it as a veritable classic. And now designers are looking at it in a whole different light. Today it is used as a mainstream high fashion textile. But it has still a lot of ground to cover to become an indomitable force. Opportunities have also brought forth the challenges that need to be addressed first. For long, this weave had been seen as a heritage textile by the weavers, who pass on the knowhow from one generation to another, leaning closer to be used in classic style Indian attire like saris. Those who feel a little less adventurous are taking the design ethos of the fabric and turning it on its head. Engineered combinations of two or more motif/pattern styles come into play to shed the old-school single ideology weave. In recent memory, a lot of fashion shows by reputed designers were focused on Ikat.This paper will highlight the areas related to contemporary styling and how the traditional motif/pattern style are manupulated by different desiners throughout the world.Looking at the enourmus potential of Ikat application there is need to have an eye towards adressing the issue of productivity also by which we can asses the socioeconomic growth and able to provde better solutions to ikkat weavers community. Key Words: Bandha,Ikat,Motif, Pattern,Weave,Community

International Journal of Current Microbiology and Applied Sciences, 2019

International Journal of Nautical Archaeolgy, 2020

Vernacular sewn boats from southern Iran and Kerala, India, in the collection of Qatar Museums are documented and their construction described. The Iranian baggāras are unique preservations of sewn boats from the Arabian-Persian Gulf, notable for their previously undocumented keel-garboard sewing technique and extensive use of bitumen coatings. Comparison between individual boats enable conclusions to be drawn about the builders’ conception, as well as variation within the type. The Keralite kettuvallams represent an ongoing vernacular tradition that is nevertheless poorly documented or preserved in museum contexts. Construction drawings, naval lines drawings and 3D photogrammetry models are provided for all vessels.

Paper Proceeding, 2018

Over 30 years, the design of ornaments on karawo textiles in Gorontalo-Indonesia is only done by one self-taught designer, without regeneration. This is allegedly because the design process is considered to be done intuitively, so that cannot be learned by others. This study aims to explore the process of designing the ornaments to be systematically understandable by others. Data were collected through observations, interviews, and review of design results. They were analyzed interactively during and after data collection. The results show that the process of creating the design is complex, but systematically done through five steps: 1) identifying the concept from users; 2) exploring the specific products for appropriate design; 3) selecting objects for appropriate motives; 4) articulating the design; 5) evaluating the overall design. These five steps are considered as method of designing ornaments on karawo textiles, which can be applied by anyone who has good interpretation to create such designs.

2020

Journal Paper, 2018

Ornaments in the Karawo textile in Gorontalo-Indonesia act as the expression of art representing the physical and social environments of the society. The forms of ornaments are made unique and able to reflect innumerable values to communicate. However, the existence of these ornaments is valued solely as the decorating elements of a product for the sake of economic interest, and therefore, it cannot contribute to the development of science, especially in the field of arts. This research aims to discuss the aesthetic values of karawo ornaments in their entirety, from the aspects of form, meaning, and appearance. The data were collected through observation, interview, and literature study. The data analysis was conducted interactively during and after the data collection. The results show that the ornaments of karawo were formed by visual elements in the forms of motives, colors, and textures arranged by following the principle of rhythm, contrast, harmony, unity and balance, to create dynamic impression, and fresh, pleasure, and energetic atmosphere. This belongs to the aesthetic excellence of the karawo ornaments. The aesthetic form at the same time reflects the diversity in meaning to communicate, such as the symbol of a leader with his noble nature, the symbol of cooperation culture, which is worth preserving, and the idea about natural preservation. The appearance of the karawo ornaments in the product can improve the quality of the product itself, and at once reflects the personal identity and social status of the wearer. This research findings prove that the ornaments function not only as the visual pleasure, but also as the communication of various meanings and social and individual status, so that the presence is always fundamental, as to enrich our art knowledge.

Proceedings of the 2nd International Conference on Arts and Culture (ICONARC 2018)

Tension of Kebaya Culture in the Primacy of Local Wisdom, 2019

In Indonesia, kebaya is a traditional dress that has been used since the days of the Archipelago's ancestors. However, as time goes on, kebaya as traditional clothing is being abandoned because it is considered irrelevant. Here, cultural tension arises between the preservation of traditional and modern kebaya. As a result, modern kebaya innovations emerged to bridge the tension. At the same time, in the preservation effort, there is a virtue of local wisdom that has long been rooted in Indonesian society.