National Fashion Image of Indonesia’s First Lady

Since its independence to its reformation era, Indonesia has had five first ladies comprising Fatmawati, R.Ay. Siti Hartinah, Hasri Ainun, Sinta Nuriyah, and Kristiani Herrawati. Since then, the first lady’s fashion has been recognized as Indonesia national fashion through presidential decree No.18 year 1972, national fashion workshop in 1978 in Jakarta, and also Indonesia’s constitution No.9 year 2010 stating that national fashion is one of the compulsory items in national events. Fashion image of the first lady is not only considered good looking yes it has also cultural and philosophical values, appears to be lady-look, and has good characters. This article discusses the appearance and philosophical aspects of Indonesia’s first ladies’ fashion and how the fashion represents the graceful image of a first lady. Visualization of the first ladies is identified using historical method while their national fashion is studied through content analysis. Having analyzed the data collected, this study finds out that each first lady’s fashion kept changing from one to another. The changes are not only influenced by the era each first lady was leading and which culture they came from but also from how they understand their position as the first lady; either when they have to meet their citizens or when they interact with fellow first ladies from other countries. Finally, this study concludes that first ladies’ fashion contains a lot of political and cultural messages as an effort to preserve the national identity. Keywords: National fashion, Image, First Lady, Kebaya, Lady-look, Identit

The Role of Indonesian Women in Internalizing the Values of Traditional Fabrics

Indonesian women play an important role as culture performer of fashion design, one of which is to preserve Indonesia’s traditional fabrics. Since women are natural educators, they get pregnant, give birth, nurture, and educate their children; they can transform knowledge and culture through their daily activities as their expression of love to their children and family. This is reflected from the way they communicate their love through traditional fabrics as a part of lifestyle. The existence of studies on Indonesia’s traditional fabrics proves the the roles of women as as wife, a mother, and a part of the society are importantly big. The use of the traditional fabrics function and mean, based on etnographical studies, a lot in several activities of Indonesian women’s life cycle. Those fabrics have several characters either in design such as size, pattern, color, and aesthetic values, or in their manufacturing technology so that they are interesting as well as important to study. The results of the study show that the existence of Indonesia’ traditional fabrics in either external and internal environment of Indonesian women is believed to be a medium of value internalization through the processes of knowing, doing, and being as an expression of meaning establishing and nation character building. Keywords: Internalizing values, Indonesia’s traditional fabrics, nation characters, roles of women

‘Catalyst Institute’ as a Bridge Between Craftsmen and Markets In Indonesian Craft Industry

The need of design in developing our craft industry has been recognized since a few years ago. The government has undertaken several programmes to increase the awareness. One of the programmes is DDO (Design Development Organization). This organization is a cooperation between Indonesia and Japan government through an agency called JICA (Japan International Cooperation Agency). Another programme that has been undertaken by our government is a design center programme that is developed by the Ministry of Industry of the Republic of Indonesia. Unfortunately, only a few of these programmes are running on an ongoing basis. Most of the programmes have already been stopped. The reason of this failure is because these programmes, that were established by the government, were only considered as projects of the government. The programmes did not include the community in the implementation. Therefore, the implementation was not ongoing. On the other hand, the new designs received from the design center were not followed by marketing process. As a result, the craftsmen did not continue to produce products with new designs. In fact, they prefer to continue making products with old designs. For this reason, it is necessary to build a system that can meet the needs of craftsmen of new designs and also help them to sell these new products in a more systematic way. This system can be managed in the catalyst institution. The catalyst institution is a business institution that was built in the community in cooperation with other agencies to support this organization to develop itself. Keywords: Craftsman, Craft Leader, Outsiders, Catalyst institutio

Estetika Interaksi: Pendekatan MDA pada Game Nitiki

Rekonstruksi ragam hias batik dalam game merupakan proses kreatif mereka-ulang visual yang tertera pada kain batik ke dalam media digital yang bersifat interaktif. Rekonstruksi menggunakan MDA (mechanics, dynamics, dan aesthetics) yang biasa digunakan dalam kerangka proses kreasi pada desain game. MDA merupakan pendekatan yang bertujuan untuk menjembatani permasalahan yang sering terjadi dalam proses kreasi yang berkaitan antara dua bidang keahlian yang berseberangan: teknologi dan desain. Perbedaan dua keilmuan antara desain dan teknologi pada game interaktif memunculkan capaian yang disebut sebagai estetika interaksi, yaitu keindahan yang diakibatkan oleh kegiatan berinteraksi yang dimediasi oleh game. Pendekatan MDA digunakan dalam penelitian untuk merancang game Nitiki 1.0 yang merupakan permainan digital yaitu dengan menyelaraskan kebutuhan akan estetika ragam hias batik yang didukung oleh kemampuan teknologi & dengan platform multi-touch screen untuk membentuk interaktivitas participatory. Aesthetics Interaction: Approching MDA on Game Nitiki Reconstruction the ornaments of batik on the game is creative process from fabrics form into interactive digital media. Reconstruction using the MDA (mechanics, dynamics, and aesthetics) are commonly used within the framework of the creation of the game design process. MDA is an approach that aims to bridge the problems that often occur in the process of creation is related between the two opposing areas of expertise: technology and design. Difference between technology and design gave discourse so-called aesthetic interaction, which is caused by the beauty of interacting activities mediated by the game. MDA approach is the method used in the study to design a game, Nitiki 1.0, that supported by multi-touch screen technology for participatory interaction purpose. Keywords: MDA, batik ornaments, Nitiki game, and aesthetics interactio

Mengungkap Kontestasi Ideologi di Balik Penanda Spasial Monumen Nasional dan Menara Eiffel

Monumen dan ruang monumental hadir sebagai agen pengingat, menampilkan secara simbolis nilai-nilai yang berlaku dan disepakati oleh masyarakatnya. Nilai-nilai sebagai aspek tak teraga juga berkaitan dengan sistem kepercayaan yang dibangun, dipegang dan berpengaruh di tengah masyarakat yang dikenal sebagai ideologi. Ideologi terkonstruksikan secara spesifik dalam proses apresiasi monumen dan terungkap melalui penguraian sejumlah penanda yang inheren pada struktur fisiknya. Tidak terhindarkan terdapat satu atau beberapa potensi idea di balik objek monumen, dimana kehadirannya menyiratkan sebuah kontestasi, yang menyuatkan suatu dominasi atau harmoni. Monumen Nasional dan Menara Eiffel yang memiliki kesamaan sebagai sebuah struktur menjulang dan merupakan penanda tempat yang ternama di kotanya masing-masing, secara semiologis dapat diungkap kekhasan muatan ideologinya sekaligus potensi relasi dari ide-ide yang terlibat di dalamnya. Monas memperlihatkan harmoni antara modernisme dan tradisi yang diinisiasi oleh kekuatan auotkrasi sementara menara Eiffel awalnya menyiratkan hegemoni modernism yang bertransformasi dalam perjalanan manifestasinya. Uncover the Ideological Contestation Over Spatial Signifier of Monumen Nasional and Eiffel Tower Monument and monumental space comes as a reminder agent, symbolically showing the prevailing values and agreed upon by society. Values as well tangible aspects related to the belief system are built, held and influential in society as ideology. Ideology constructed specifically in the process of monuments’ appreciation and revealed through the decoding of their signifiers that inherent in the physical structure. Inevitably there are several potential idea behind monument where its presence implies contestation which shows a dominance or harmony. Monas and Eiffel Tower which has similarities as a towering structure and has become a famous place mark in their city respectively, can be uncovered by semiology, their ideological distinctiveness as well as the potential relation among ideas involved. Monumen Nasional showing the harmony between the spirit of Modernism and local Javanese tradition initiated by autocrative powers, while Eiffel at first imply hegemony of Modernism, which transformed in the course of its manifestation. Keywords: Monument, ideology, harmony, and hegemony

Pergeseran Gaya Estetis Mebel di Keraton Ngayogyakarta Hadiningrat

The Kraton Ngayogyakarta Hadiningrat has been the center for the development of ideas, traditions, and cultural artifacts, giving it a unique status among Indonesia diverse cultures. Understanding the richness of Yogya's inherited artifacts, this research tried to investigate the existing styles of furniture in the Keraton Ngayogyakarta Hadiningrat during 1755 to 1988. The span period was chosen because during that time the Keraton endured several cultural transformations, from the period where Hindu-Buddha was very much influential to the era of colonialism. Sources for this research were gained through direct observation, interview and documentation, amplifying descriptive qualitative method using historical approach for analysis. The study indicates that there exist visual data, left by Sri Sultan Hamengku Buwono VIth to IXth, in form of symbolic mean that could be seen on the furniture (ornaments) in the Keraton Ngayogyakarta Hadiningrat. It shows that the most frequent used ornaments are geometric shape, flora-fauna, and imaginary creatures. The ornaments are usually placed at the top, center and lower parts of the furniture. Aside to fulfill aesthetical decoration, those ornaments, which also have symbolic mean, are used as a medium to express the social norms of the Kraton Ngayogyakarta Hadiningrat

Relasi Selera Pengrajin dan Selera Konsumen Terhadap Produk Rumah Tangga Sehari-Hari

Berbagai produk kerajinan ditawarkan dengan pilihan bentuk dan harga yang beragam. Produk-produk yang dibuat oleh para pengrajin ini merupakan pengembangan dari produk-produk tradisi yang khas dari setiap daerah dengan lingkungan sosial dan masyarakat yang khas pula. Disisi lain konsumen dalam memilih produk-produk yang ditawarkan juga sangat bergantung pada selera yang juga dilandasi oleh pola kehidupan antara individu dan lingkungan dimana mereka tinggal. Dengan menggunakan metode VAS (Visual Analog Scale), penelitian ini mencoba melihat korelasi antara selera konsumen yang berasal dari lingkungan perkotaan (kota Bandung) dan selera produsen yang berasal dari lingkungan pengrajin di pedesaan (Tasikmalaya dan Ciwidey) melalui produk-produk keseharian. Hasil dari penelitian ini diharapkan dapat memberikan kontribusi pada keilmuan desain khususnya dalam mengembangkan desain- desain baru yang berangkat dari tradisi. The Relation Between Craftsmen Taste and Consumer Taste through a Daily Product Utensil Various handicraft products are offered with a choice of shape and price range. The traditional craftsman usually develops their product from their tradition. Different region has different social and cultural background which has impact to the craft products. In other side, the consumer taste when choosing product is affected by the living pattern between man and the social environment. By the VAS (Visual Analogue Scale) method this research has the purpose to see correlation between consumer taste that lives in the city (Bandung) and the craftsman taste that lives in the village (Tasikmalaya and Ciwidey) through a daily product utensil. The result of this research is expected to contribute on design especially in developing new design based on tradition. Keyword: Craftsman tastes, consumer tastes, visual analog scale, and aesthetic perception

Pergeseran Gaya Estetis Mebel di Keraton Ngayogyakarta Hadiningrat

The Kraton Ngayogyakarta Hadiningrat has been the center for the development of ideas, traditions, and cultural artifacts, giving it a unique status among Indonesia diverse cultures. Understanding the richness of Yogya's inherited artifacts, this research tried to investigate the existing styles of furniture in the Keraton Ngayogyakarta Hadiningrat during 1755 to 1988. The span period was chosen because during that time the Keraton endured several cultural transformations, from the period where Hindu-Buddha was very much influential to the era of colonialism. Sources for this research were gained through direct observation, interview and documentation, amplifying descriptive qualitative method using historical approach for analysis. The study indicates that there exist visual data, left by Sri Sultan Hamengku Buwono VIth to IXth, in form of symbolic mean that could be seen on the furniture (ornaments) in the Keraton Ngayogyakarta Hadiningrat. It shows that the most frequent used ornaments are geometric shape, flora-fauna, and imaginary creatures. The ornaments are usually placed at the top, center and lower parts of the furniture. Aside to fulfill aesthetical decoration, those ornaments, which also have symbolic mean, are used as a medium to express the social norms of the Kraton Ngayogyakarta Hadiningrat

Visual Newness Value of Craft Products for Indonesian Public

Market mechanism demands “newness” as a predicate to be embedded on any product to be offered on the market. The contextuality of the “newness” calls for a study of how consumers respond to a product that offers such newness. In any craft products, the value of newness is often in conflict with the unique characteristics shaped by tradition, making newness harder to achieve. This study comprises a phenomenological analysis towards consumer appreciation of the value of newness in craft products. The study is conducted through surveying public appreciation towards randomly chosen craft product. The analysis that follows is based on the conclusion collected from questionnaires, a formalistic analysis of the craft products, and the resulting phenomenon based on the profiles of the respondents. Keywords: newness, craft, formalistic