126 JOGJA FASHION WEEK CARNIVAL COSTUME IN THE CONTEXT OF LOCALITY Deni Setiawan Primary School Teacher Education Program, Semarang State University, Indonesia Karanganyar Campus, Semarang Indonesia E-mail: denijusmani@gmail.com Received: October 22, 2015. Revised: November 29, 2015. Accepted: December 4, 2015 Abstract Jogja Fashion Week Carnival (JFWC) is held in order to promote the development of costume creative industry in Indonesia, especially in Yogyakarta. Woven and batik (Javanese traditional fabric) as products of Indonesia is reproduced into art costumes. It may add the value of both the product and the price of the product itself as the core of the continuity of the creative industry economy in Indonesia. The eastern value of the costume design worn during the carnival may reflect the traditional value of society. The concept of the costume making is rooted from Indonesia folklores, legends and myths that are still being developed in present society. Throughout the event, exploration done by the artists is seen as a genuine attempt to support the Government in promoting costume industry both in national and international scale. Costumes worn in JFWC were analysed using aesthetic theory by adopting the point of view of DeWitt Henry Parker. The point of view comprises three main aesthetic principles, i.e.: an intact unity, thematic principle, as well as balance principle. Those three concepts can be used to find out the basic locality value of a costume that later can be used as the art education’s source of material. Finally, it is concluded that the theme of JFWC costume creation concept is sourced from the rich tradition of Indonesian society. Keywords: costume; intact unity principle; theme; balance How to Cite: Setiawan, D. (2015). Jogja Fashion Week Carnival Costume in The Context of Locality. Harmonia: Journal of Arts Research and Education, 15(2), 126-132. doi:http://dx.doi.org/10.15294/harmonia.v15i2.4567 HARMONIA : Journal of Arts Research and Education 15 (2) (2015), 126-132 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: 10.15294/harmonia.v15i2.4567 p-ISSN 1411-5115 e-ISSN 2355-3820 including using the carnival costume as learning resources. In addition to the event, other countries’ cultures are also promoted, i.e. Cosplay costume exhibition, which allow diplomacy and culture learning to occur. The creation concept of JFWC costume is related closely to social events and seve- ral stories or folklores that are developed in society, such as costume design that is based on the myth of Nyi Roro Kidul, Dewi Lanjar, Ratu Ular, as well as costu- me worn by Kings and Queens of Indone- sian Ancient Kingdom. In each event, the theme of costume worn in the carnival is INTRODUCTION Jogja Fashion Week Carnival (JFWC) was firstly held in 2007. The event is ai- ming at exhibiting costume design as an artwork in an outdoor area. Besides, for the long term purposes, this event also aims at increasing clothing industry productivi- ty, promoting traditional fabric potential, reducing the rate of import clothing, and popularizing folklore- based traditional culture to Indonesian society (http://jogja- news.com). Later, in this context, JFWC is expected to be able to be used as one sour- ce of art education material and content, Deni Setiawan, Jogja Fashion Week Carnival Costume in The Context of Locality 127 usually varied from one event to another. It depends on the committee’s provision. The theme chosen by the committee is usu- ally used to limit the concept as well as to become the ground of thinking of the par- ticipants. Costume in JFWC has its specific standards that will be then limited to the dress code which is followed by the entire participants (designers). According to Desmond Morris (2002, p. 320), clothes have three fundamental functions. First, it gives comfort, it shows politeness, and it serves as the center of attraction. Based on the three functions mentioned above, several clothes’ styles are invented. There are clothes for gene- ral consumption (casual), for specific pur- poses, as well as for expressive purposes (an artwork). In some clothes styles that are created by designers, aesthetic aspects are always taken for granted, except for the comfortable and politeness aspects. Clothes’ styles are varied. It depends on the geography and topography aspects that are underlined it. In addition to tho- se aspects are denotative and connotative values, as well as custom code in a social situation that also attach in the costume design decision (2010: p. 256-257). The sty- le of clothes can also be referred to a code of attire that sets style based on age, gen- der, and social class (status) (Danesi, 2010, p. 267). The research statement of the present study is how decorative ornament and de- sign aspect in Jogja Fashion Week Carni- val (JFWC) are. One of the study that is considered to important as the study basis of the present study is a research entitled “Kajian Visual Harajuku Style di Indonesia Ditinjau Melalui Pendekatan Unsur-Unsur Fashion: Studi Kasus Bandung dan Jakarta” (The Visual Study of Harajuku Style in In- donesia from Fashion Elements Approach: A Case study in Bandung and Jakarta) by Bunga Sari Siregar in 2008. The research by Sari Siregar had successfully compa- red Harajuku style in Indonesia with the style’s origin, Japan. Further, the research is employed here as the model or scientific guidance to see, discuss, and break down problems of research that is related to the costume worn in Jogja Fashion Week Car- nival. METHOD Historical method was employed in this study. By using the method, peri- odicity of carnival costume style could be seen, while to analyse the costume design itself, aesthetic principle was applied. Du- ring 2009-2014, primary data was collected through direct observation, while data about the carnival in 2007-2008 was col- lected from written sources as well as in- terviews. Another approach implemented here was literature method that was based on both printed and electronic data. Printed data was gathered from magazi- nes, tabloids, journals, and newspapers, whereas electronic data was collected from television and electronic mass media that can be accessed from the internet. Inter- viewees interviewed in this study as well as primary data source were taken from people who were in charge in the event, comprises the costume designers, carnival participants, as well as the steering com- mittee. In addition to this was secondary data that referred to several articles taken from mass media (printed and electronic), observations and photo results from other photographers or other sources who did not relate directly to the steering commit- tee. Further, data was analyzed by using text analysis pattern about aesthetic the- ory based on DeWitt Henry Parker point of view through three aesthetic principles, there are: the principle of unity intact, the principle of theme, as well as the principle of balance. Lastly, data was validated by using source data triangulation technique. RESULT AND DISCUSSION Since 2007, Yogyakarta has held a street fashion event known as Jogja Fashion Week Carnival (JFWC). This event is a part of another bigger event named Jogja Fashi- on Week (JFW). During the year of 2007- 2014, the event was always held annually. HARMONIA : Journal of Arts Research and Education 15 (2) (2015): 126-132128 JFWC invites designers, government insti- tutions, schools, public education institu- tions, as well as art education institutions to take part in the occasion. One mission of the event is to support the equitable de- velopment of clothing or costume business and arts in other areas of Indonesia, so that the business will be not only centered in the capital. In the first year of JFWC, a specific term had not been applied. A committee was focusing more to formulate the event’s structure and arrangement. In 2007, ho- wever, the committee had had a specific theme for the event; that was Essentially Global. The theme was chosen in order to facilitate the society products of arts, i.e. batik, knitting, and woven that are spread in several islands throughout Indonesia. The fabrics are processed and combin- ed with other materials, such as: plastics, parachute fabrics, as well as matting that were transformed into JFWC costume and cosplay. The theme Culturally Plural was used in 2008, by showing the riches of ethnical clothing in Indonesia. The theme of Boedaja in Motion in 2009 explores batik throughout the nation. Typical fabrics from several regions of Indonesia were modified into JFWC or fantastic cosplay costume as an at- tempt to preserve traditional values in mo- dern clothing. The theme that was used in 2010 was Save Our Planet. Here, used ma- terials were transformed into a set of JFWC and cosplay costumes. The narrower con- cept was recycling fashion. The theme of Sparkling in Vintage in 2011 exploits batik with the touch of vin- tage impression. “In Vintage” itself me- ans to present old fashion style. Further, in 2012, the theme of Gempita Sukma Raya, presents the riches of Nusantara traditi- on. The theme Semarak Katulistiwa in 2013 was divided into several sub themes, there were: Hamparan Laut di Katulistiwa (taken from Indonesian legends that contains ma- ritime aspect), Gugusan Pulau di Katulisti- wa (adapting legends with the element of historical buildings), and Ragam Budaya Katulistiwa (adapting legends with the ele- ment of characteristics dan philosophy). In addition in 2014, JFWC was named with Beruga Jenggala Nusantara that means “the majestic congregation of Kingdoms in Nu- santara” that shows the glory of kingdoms in Nusantara, i.e. Java- Bali, Kalimantan, Sumatera, Sulawesi, and Papua. The Principle of Full Entity of JFWC Cos- tume Full entity here means to not distin- guishing character and content or organic entity (full entity). Organic theory tells that an artwork is now seen as an organic sys- tem, and no longer as a mechanic system. In an organic system, each element cannot take part of its own, but needs to be in an internal bound with other elements. An artwork is a symbol and the art value of it is depended on its position as a symbol (Sahman, 1993, p. 34) Judging or assessing the pattern of JFWC costume, one needs to see it as a whole or full entity. For instance, for cosplay that is adapted from traditional clothing and wayang, visually, it will have traditio- nal ornament, as well as roots and leaves stylization. While the shape of ukel, the use of crown, the use of cloth, dan ornament are dominated by brown colour. The use of batik is considered as an important symbol for cosplay of wayang story since batik is a traditional product that contains variety of learning value. In the characterization of Gatotkaca, for example, a harmony and stylized form of repetition could be seen in several parts, i.e. the crown, arm, and belt ornaments. All ornaments employed the same sha- pes and colours. For the visual accessories look, gold for the main colour is chosen. Gold symbolizes strength and dignity. Be- sides gold, there is also black and white to illustrate a noble character and harmonize the colour of gold itself. Entity means to see as a whole, started from the main costume, accessories, as well as make up to strengt- hen the characterization of the character. The element of a full entity cannot be separated from the visual package of JFWC costume. Improvisation (costume Deni Setiawan, Jogja Fashion Week Carnival Costume in The Context of Locality 129 design with textual transformation) that has been done by the designers is a form of creativity in order to produce a high quality art costume that has a high mar- ket value. Each costume theme that is cre- ated is also strengthened by colour entity and ornaments. In addition, the chosen of make up also becomes a significant part of a whole JFWC costume. It acts as main ele- ment to form themes. Another example is the costume that is often worn by Nyi Roro Kidul that always wears crown, shawl, and gold accessories as the ornament. The cos- tume can represent the idea of the costume designer and the story sources as a whole entity, so it will not create an abstract im- pression to the audience. The Principle of Theme in JFWC Cos- tume This principle is closely related to the dominant character that is shown phy- sically by the art works. In every art work, there is one idea or more stripes pattern, form, or colour that is central where the typical of a whole artwork is concentrated. This phenomenon allows one to under- stand or appreciate artworks (Sutrisno, 2005, p. 218). The context of the theme is an at- tempt to produce an accentuation of a character to create centre of attention of an artwork. According to Dharsono Sony Kartika (2004, p. 63) center of attention can be formed by creating accentuation, pro- cess in repeating size and contrast between colours, line, space, shape, or motives. In the costume of Wiro Sableng, Pendekar Kapak Maut Naga Geni 212, a typical cen- ter of attention cannot be found since the dominant colour of the costume is whi- te. The only attraction of the character is the presence of black tattoo “212” in the character’s chest and a silver Naga Geni 212 axe. For the costume style with pewa- yangan theme (Javanese traditional folkta- le), the dominant colour used is brown and black; accessories worn are ringlet wig, ba- tik on the shawl, skirt, and a shirt. The ty- pical style of pewayangan is placed on face make up, accessories, and batik costume worn by the character. Different from the costume with the theme plural, as in the adoption of flora and fauna characters, the use of colour and shapes are varied, and the costume is more expressive. In a social context, style can be in- terpreted as a competition manifestati- on. Here, the competition is created by JFWC committee and agreed by all par- ticipants in order to create popularity for the designer’s brand. The event, in this context, will finally represent designers’ costumes in certain social contexts. There- fore, in terms of look, Argyle divides the aspects into two: voluntary aspect (hair, costume, skin, skin colour, and jewellery) and uncontrollable aspect (height, weight). Look is also used to send messages about personality, social status, and conformity (Fiske, 2007, p. 96). Mass media through advertisement creates fashion style, inclu- ding all accessories attached to it. Since the advertisement shows it actively and dyna- mically, as a result one buys a product for the sake of style and not for fulfilling need purposes. In other words, people as con- sumers purchase the symbolic meaning of a fashion or clothing. Here, consumers are in the position of being fascinated by the symbolic meaning of a fashion and not to the utility function of a product that they purchase (Piliang, 2003, p. 287). The Principle of Balance in JFWC Cos- tume Based on the thought concept of Riza- li (2000) the type of fashion is divided into four: Special Fashion, High Fashion, Medium Fashion, and Standard Fashion. Throughout its development, four types are developed in eight. There are: Classic and New Clas- sic genre, Houte Couture and Trendy gen- re, New Waves and Cycle genre, as well as Fads dan Ready to Wear genre (Rizali, 2000). Based on the concept, JFWC costume be- longs to special fashion. Special fashion can be interpreted as clothing used only in a specific time, place, and situation. Accor- ding to Kartika (2004), balance comprises of formal and informal balance. The orna- ment determination and disposition on a HARMONIA : Journal of Arts Research and Education 15 (2) (2015): 126-132130 ses deformative and style forms that are sourced from forms of flora and fauna, animals, and several other forms referred to local reference. Part of the ornament went through series of transformation pro- cess. The process is initiated by the reality phenomenon that is developed into ideas and later to the visual. The picture for- mulated from the process is varied. This is caused and limited by certain roles that turn into a guidance to create an applica- tive ornament of JFWC costumes. Besides, forms of ornament shown in cosplay with variety of materials, i.e. plastic, paper, matting, and several additional fabrics. It realizes the idea of using materials to crea- te a costume in eastern nuance. Some of the design aspects in eastern perspectives are shown in JFWC costume. Among all, the main aspects are physics and fine arts. What belong to physical aspects are the materials used to produ- ce the costume (clothing). In visual form, the arrangements of design elements that suit eastern aesthetic principle are existed. Eastern aesthetic itself relates closely to the ornament of batik as well as the crea- tion of cosplay by referring to Indonesian superhero. Here, the mental aspect as the manifestation of Indonesian local culture is emphasized. Artwork shown during the carnival shows realization and soul which are combined with the sense and emotion, memory, experience, and thought. These are the reflection of the reality of life sin- ce human expresses their energy through artwork. REFERENCES Barnard, M. (2009). Fashion sebagai Komu- nikasi: Cara Mengkomunikasikan Iden- titas Sosial, Seksual, Kelas, dan Gender. Yogyakarta: Penerbit Jalasutra. Clipson, C. (1989). Design for a Coming Age. Japan: Design New Special Issues. Corson, R. (1981). Stage Makeup. Engle- wood Cliffs, New Jersey: Prentice- Hall, Inc. 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Harmonia: Journal Of Arts Research And Education, 13(2). doi:http://dx.doi.org/10.15294/har- monia.v13i2.2776 HARMONIA : Journal of Arts Research and Education 15 (2) (2015): 126-132132