Local Culture Synchronization in Global Contemporary Fashion Style Breakthroughs

Tiko Prabhata; Ilham Ari  Susanto; Savira P.; Wegig   Murwonugroho

doi:10.31091/mudra.v38i3.2225

Local Culture Synchronization in Global Contemporary Fashion Style Breakthroughs

Authors

Tiko Prabhata a:1:{s:5:"en_US";s:13:"desain produk";}
Ilham Ari Susanto Design Magister Program, Art and Design Faculty, Universitas Trisakti
Savira P. Design Magister Program, Art and Design Faculty, Universitas Trisakti
Wegig Murwonugroho Design Magister Program, Art and Design Faculty, Universitas Trisakti

DOI:

https://doi.org/10.31091/mudra.v38i3.2225

Keywords:

fashion design, contemporary fashion, traditional values, traditional culture

Abstract

Fashion now has become an inherent part of people’s lives, especially in urban settings. One’s fashion sense may be expressed in numerous ways, such as by donning unique clothing, wearing accessories that carry certain identities, or putting on symbols with special meanings or messages. Over the past few years, contemporary fashion design has returned to traditional design values in ethnic motifs, shapes, and even technologies used. Such a phenomenon is worth close observation, drawing interest in how traditional art creative concepts are processed into part of contemporary-styled fashion. To answer this question, this research employed the phenomenological method. From the analysis carried out, the following four appealing traditional values in contemporary design works were identified: 1) symbolization; 2) environmentally friendly materials; 3) traditional technologies; and 4) philosophies. These four values are the most frequently adapted by designers in creating contemporary fashion designs. Finally, we theorize about the ability of symbolic representations of a particular culture to be transferred to fashion over time, without losing the bond with the local tradition.

Downloads

Download data is not yet available.

References

Akinbileje, Thessy Yemisi (2014). Symbolic values of clothing and textiles art in traditional and contemporary Africa. International Journal of Development and Sustainability. ISDS Article ID: IJDS13042001

Ayda, Puspa Nur (2020). Pembuatan Surface Design Pada Busana Ready to Wear Dengan Teknik Sashiko. Jurnal Teknologi Busana dan Boga

Briscoe, Susan. The Ultimate Sashiko Sourcebook: Patterns, Projects and Inspirations. 2016

Costa, Catarina et all (2020). Textile Industry in a Changing World: Challenges of Sustainable Development. U.Porto Journal of Engineering. DOI: 10.24840/2183-6493_006.002_0008

Debeli, Dereje (2013). African textile design and fabric arts as a source for contemporary fashion trends. 2nd International Conference on Science and Social Research (ICSSR 2013).

Delgado, M. J. B. L., & Albuquerque, M. H. F. (2015). The contribution of regional costume in fashion. Procedia Manufacturing, 3, 6380-6387. DOI: 10.1016/j.promfg.2015.07.966

El Mehy, E. Y. M., & Elahas, M. M. A. (2020). Utilizing Aesthetics of Andalusian Art to design Contemporary, printed garments to Support the Psychological State of Women Over the Age of Fifty.

Hayes, Carol (2019). Sashiko needlework reborn: from functional technology to decorative art, Japanese Studies, DOI: 10.1080/10371397.2019.1634978

Holsti, O.R. (1969). Content Analysis for the Social Sciences and Humanities. Reading, MA: Addison-Wesley.

Hu, B. (2020). Exploring Contemporary Visualizations of Traditional Chinese Symbols: A Case of Tea Packaging Design. Design Journal, 23(2), 309-320, ISSN 1460-6925, https://doi.org/10.1080/14606925.2019.1699763

Januar, Arie (2017). Fungsi, Makna, Dan Eksistensi Noken Sebagai Simbol Identitas Orang Papua. Patrawidya. https://doi.org/10.52829/pw.47

Kaya, Ö. (2021). Romanian Folk Symbols in Contemporary Fashion Design. New Design Ideas, 5(2), 135-149, ISSN 2522-4875

Mayer, T. (2018). From craft to couture: Contemporary Indian fashion in historical perspective. South Asian Popular Culture, 16(2-3), 183-198. DOI: 10.1080/14746689.2019.1565332

Nobler, L.C. (2021). African pattern, identity, and relevance in contemporary textile and fashion design. International Journal of Design in Society, 15(1), 45-58, ISSN 2325-1328, https://doi.org/10.18848/2325-1328/CGP/V15I01/45-58

Palomino, E., Phiri, E., & Káradóttir, K. (2020). Indigenous Fish-Skin Craft Revived Through Contemporary Fashion. https://oaks.kent.edu/node/10451

Pranoto, Iwan et al (2020). Motif Burung Enggang Gading Pada Pakaian Adat Dayak Kanayatn Kalimantan Barat. Gorga : Jurnal Seni Rupa. DOI: https://doi.org/10.24114/gr.v9i2.18928

Roubelat, F., Brassett, J., McAllum, M., Hoffmann, J., & Kera, D. (2015). Probing ephemeral futures: Scenarios as fashion design. Futures, 74, 27-36. DOI: 10.1016/j.futures.2015.05.004

Sumartono. (2017). Metodologi Penelitian Kualitatif Seni Rupa & Desain. Pusat Studi Reka Rancang Visual & Lingkungan.

Textile Industry in a Changing World: Challenges of Sustainable Development. Textile Industry in a Changing World: Challenges of Sustainable Development. Catarina Costa. U.Porto Journal of Engineering, 6:2 (2020) 86-97. 2020

Wang, Y. (2022). A conceptual framework of contemporary luxury consumption. International Journal of Research in Marketing, 39(3), 788-803. DOI: 10.1016/j.ijresmar.2021.10.010

Xue, X., Caiguo, X., Yi, L., & Chenxia, M. (2022). Consumption of traditional handicraft fashion: Motivations, intentions and behaviours of Chinese consumers. Cleaner and Responsible Consumption, 4, 100046. DOI: 10.1016/j.clrc.2021.100046