Practice and Implementation of Glocalization in the Field of Indonesian Contemporary Fashion

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ADCS ISSN2189-1249 BULLETIN OF ASIAN DESIGN CULUTURE SOCIETY ISSUE NO.15 2021 SPRING AUTUMN MERGER アジアデザイン文化学会論文集　第15巻

春・秋　合併号 Issued on 05/10/2021

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ADCS ISSN2189-1249

BULLETIN OF ASIAN DESIGN CULUTURE SOCIETY ISSUE NO.15 2021 SPRING AUTUMN MERGER

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目次 CONTENTS

From Indonesia

2021-SA RT IT001

Public Furniture Design Development on Transit Area as Sustainable City Branding Strategy in Tulang Bawang Barat, Lampung, Indonesia

Deddy Wahjudi, Adhi Nugraha, Harry Anugrah Mawardi, and Zzyafra Iomaski Zihana.

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2021-SA RT IT002

Indonesian Culture and Values as the Basis of Indonesian Horror Webtoon BASYARAYNI MAWLA FATHA, ALVANOV ZPALANZANI MANSOOR

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Student’s Territorial Behavior in Islamic Boarding School Dormitory A Study Case: Babussalam Islamic Bording School

NURUL INAYAH DEDDY WAHJUDI Bandung Institute of Technology 2021-SA RT IT004

Practice and Implementation of Glocalization in the Field of Indonesian Contemporary Fashion

(implementation of Pierre Bourdieu’s Interrelated Concept) Olivia Gondoputranto, S.Sn., M.M.

Fashion Product Design and Business Departement, Faculty of Creative Industry, Universitas Ciputra

Citraland CBD Boulevard, Made, Surabaya, East Java, 60219, Indonesia

From Tiwan

2021-SA RT TT001

Co-Creative Development between Craftsman Brand and Cultural Creative Tourism from the Perspective of Service Design

An Example of Tian Jhong Kiln Hollyhock Flower Festival Yeh Chih Cheng* Lo Tsai-Yun**

*Graduate Institute of Design Science of Tatung University

**Tatung University 2021-SA RT TT002

Design and Marketing of JINHO Brand:

Perspective of Regional Revitalization

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Kao, Yi Fang* Lin, Men Gjie** Chen, Hung Cheng***

*Fo Guang University

**Taiwan Designers’Web

***Shandong Polytechic 2021-SA RT TT003 綠與綠之間的衝突與解決

–台灣⻄部沿海漁電共⽣與環境社會檢核機制之探討 Green on Green Conflicts and Resolutions

―Environmental & Social Screening Mechanism for Fishery & Electricity Symbiosis in Taiwan Southwest Coastal Area

陳泰安 CHEN, Tai-An

環球科技⼤學環境資源管理研究所

Institute of Environmental Resources Management, TransWorld University 2021-SA RT TT004

台灣社區⽼⼈照顧關懷據點空間服務 -料以台灣雲林縣⽃六市兩家據點為例-

Spatial Service of the Care and Care Base for the Elderly in Taiwan Community -Take two bases in Douliu City, Yunlin County, Taiwan as an example-

何嘉銘 He JiaMing 曾思瑜 Szu-Yu Tzeng

臺灣國⽴雲林科技⼤學 National Yunlin University of Science &Technology

From Japan

2021-SA RT JT001

管理職が進めるキャリアカウンセリング ― 教師との良好な⼈間関係づくり―

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― building good relationships with teachers ― 勝田みな Katsuda Mina

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新規学卒者における「とりあえず正社員」志向の要因分析

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中嶌剛 Nakashima Tsuyoshi

千葉経済⼤学 Chiba Keizai University 2021-SA RT JT003

陶芸に従事する⼥性の起業家的⽣き方－岐阜県土岐市の精炻器制作⼥性の事例から－

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東海学院⼤学 Tokaigakuin University

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2021-SA RT JT004

子連れワークの⾏いやすさに影響する要因

コロナ禍における子連れ在宅ワークの実態調査から

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－From a fact-finding survey of home-based work with infant(s) under the lockdown by covid-19－

光畑由佳 Yuka Mitsuhata

東京⼤学⼤学院情報学環客員研究員 Visiting Researcher, Interfaculty Initiative in Information Studies, The University of Tokyo

2021-SA RT JT005

和綿栽培を通した小中高の総合学習プログラム

―エシカル思想の普及および地域環境教育の可能性について―

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―Promotion of Ethical Thinking and the Possibility of Regional Environmental Education―

渡邉操 Watanabe Misao

岡⼭県⽴⼤学 Okayama Prefectural University 2021-SA RT JT006

The Lifestyles of Women in FUKUI: Employment Status, Living Experiences, and Household Composition

Sakiko YAMAMOTO Etsuko SAITO Masako ISHII-KUNTZ Shoko AIKAWA Ochanomizu University

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北部九州に⾒る⼭笠⼭台の八ッ文字

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倉敷市⽴短期⼤学 Kurashiki City College 2021-SA RT JT008

沖縄のグーシ織技法の解明およびその現代的伝承－中国ヤオ族の紋織りとの比較を通して Inheritance of Gushi Weaving Technique of Okinawa

―Through Comparison with the Yao Chinese Pattern Weave 曽和英子 Sowa Eiko

神⼾芸術⼯科⼤学 Kobe Design University 2021-SA RT JT009

我が家の敷地に⽣える雑草を楽しむ

Weeds growing in our garden Life enjoying the flowers of weeds 鈴⽊弘子 Suzuki Hiroko

主婦 housewife 2021-SA RT JT010

森林との日常的な関わりをつくるプロダクト－⽣木伐採材のグリーンウッドワークへの活用 Product Design for Everyday Interactions with Forests

―Utilization of Raw Wood Cuttings for Green Wood Work

⼤嶋優希子 Oshima Yukiko* 曽和具之 Sowa Tomoyuki**

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*神⼾芸術⼯科⼤学 Kobe Design University

**神⼾芸術⼯科⼤学⼤学院 Graduate school of Kobe Design University 2021-SA RT JT011

「食の台所」といわれた浦安魚市場の閉鎖

The closure of the Urayasu Fish Market, once known as the “Kitchen of Food”

加藤千恵子 katou chieko

うらやす市⺠⼤学 The Civic College of URAYASU 2021-SA RT JT012

妻を亡くしてつながりを考えるーコロナ禍の下での突然の別れー Thinking about connection after losing my wife Sudden Separation under the Corona Disaster 栗林昭 Kuribayashi Akira

豪雨災害現場でのボランティア活動〜⾃らの⽣き方を考える機縁として〜

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To discover a way of living that suits me 吉村啓治 Yoshimura keiji

地域資源に基づくうらやすの歴史的展開 うらやすという町のひとつの物語

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鶴岡洋幸 Tsuruoka Hiroyuki

明治の偉⼈たちにふれるーコロナ禍の下で知り得たものー Touching on the Great People of the Meiji Era What I learned under the Corona disaster 常田純孝 Tsuneda Yoshitaka

浅草【花やしき】と江⼾の粋

浅草【花やしき】開業に江⼾文化の華を⾒る Asakusa "Hanayashiki" and Essence of Edo

The flower of Edo culture is seen in the opening of Asakusa "Hanayashiki"

佐藤厚⾏ Sato Atsuyuki

うらやす市⺠⼤学 Urayasu Civic College 2021-SA RT JT017 invited

野に出て⽣活を学ぶ フィールドワーク教育の実践

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Learning about Life in the Field Practice of fieldwork education 三橋俊雄 Mitsuhashi Toshio

京都府⽴⼤学 Kyoto Prefectural University 2021-SA RT JT018 invited

日本の家庭用風呂の近代化 ―近代家庭機器の発展過程―

Modernization of the Japanese Home Bath

― Development Process of Modern Household Objects ― 面矢慎介 Omoya Shinsuke

滋賀県⽴⼤学名誉教授 professor emeritus, the University of Shiga Prefecture 2021-SA RT JT019 invited

地域資源活用に基づく地域づくり

“ないない尽くし”からの転換

Regional Development based on Local Resources To make an about-face on “having absolutely nothing”

宮崎清 Kiyoshi Miyazaki

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2021-AS RT IT004

Accepted September 1, 2021

Practice and Implementation of Glocalization in the Field of Indonesian Contemporary Fashion

(implementation of Pierre Bourdieu’s Interrelated Concept)

Olivia Gondoputranto, S.Sn., M.M.

Fashion Product Design and Business Departement, Faculty of Creative Industry, Universitas Ciputra

Citraland CBD Boulevard, Made, Surabaya, East Java, 60219, Indonesia [email protected]

Abstract

Globalization is an inevitable phenomenon, a major change in the world development. Information technology affects and even brings changes in social order and in the views of a nation's society. This research aimed to demonstrate a unique cultural hybridization as resulted from a glocalization practice as a cross-cultural concept, where its object is an Indonesian contemporary fashion, which was analyzed through Pierre Bourdieu’s interrelated concept. From the data analysis results, it is seen that the glocalization of global culture with Indonesian local culture has resulted in the identity of local wisdom characteristics, which is embodied in the modern clothing with its local essence and tradition of the Indonesian nation.

Keywords: globalization, glocalization, contemporary fashion, the Bourdieu theory, Indonesia

I. INTRODUCTION

The globalization phenomenon has become and brought a great influence on the world order. The development of technology and information has influenced changes in the society’s mindset or point of views, attitudes, and lifestyles as well. Certain groups, such as the hyperglobalist globalization group, the transformationalist, and the skeptic, have voiced their different responses and responses from their own perspective (Rianto, 2004:164). The hyperglobalists view the state only as an intermediary for the continuousness of the global economy in order to form a new world order. Meanwhile, the skeptics view globalization asmerely a phenomenon that will progressively marginalize the existence of poor countries. Aside from the debate about the perspective of interpreting globalization, in this article globalization is seen as a historical process emerging as a logical consequence of a technological progress and innovation, as well as the development of communication and information technology.

The rapid development of information and communication technology is usually blamed for the disappearance of an existing local culture or tradition, or a fading culture. Ulrich Beck (in Suyanto, 2013) claims that globalization is a linear (one-way) and not a monocausal process, which is understood as a multidimensional and multidirectional interaction process. In addition to that, George Ritzer defines globalization as the process of worldwide-spread habits, the expansion of relationships across continents, the social life organization on a global scale, and the growth of a shared global consciousness (Ritzer, 2006). The notion of globalization includes a number of transnational processes that can be separated from one another. Furthermore, Anthony Giddens calls globalization a dialectical process (in Kristiatmo, 2007). It is undeniable that globalization definitelycarries new cultural flows that bring to the surface the modernity effect and a contradictory condition in a certain region’s social

Bulletin of ADCS RESEARCH THESIS 2021SA 017

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order. These changes and modernity are noticeable in various life aspects such as the way people dress and present themselves through appearance (fashion) and ways of communication and interaction between layers of society. In a field of fashion, a phenomenon of fast fashion emerges caused by the capitalism movement that has taken root in a consumptive society. Baudrillad (in Shinta, 2018) states that today's capitalist society focuses more on the importance of a meaning, image, symbol and sign system rather than the price or benefits of a product. Moreover, he affirms that for a consumptive society, consumption is no longer defined based on the urgency of a need, but on obtaining a symbol of status and prestige through a marking.

The number of clothing commercialization in the shape of luxurious things or a symbol of status by means of various supply channels and manipulative marketing techniques, which is quickly spread through media, has brought fashion into one of the most demanded commodities with a fast turnover.

In related to this, Shinta (2018) argues that fashion can be known as a communication machine that is able to show a person's social and class identity, because basically fashion is included as a semiotic tool. Along with the acceleration of the fashion trend cycles, another concept for an individual, fashionable, arises and is constantly echoed through the media. This shapes people’s thoughts and interests regarding the idea and proximity of an existing fashion trend, which ultimately underlies the presence of Fast Fashion in all over the world, including Indonesia. The combination of industrialization existence in the fashion sector, the various fashion show events held endlessly, and easily accessed information in this digital era has promised a rapid adaptation.

Fashion trend has rolled faster than before. At first, its first rotation is only during spring-to- summer or autumn-to-winter. Now, people can enjoy the trend just about six weeks after being shown for the first time on the runway stage. That is because many fashion apparel manufacturers have changed their supply chain system from product-driven to buyer-driven chains (Bhardwaj &Fairhust, 2010). That is the basis of fast fashion concept that is adopted by several fashion brands retails such as Zara, H&M, Mango, Top Shop, and others. These retails have indeed seen the opportunity of fashion as a commodity that can be marketed quickly and is suitable to fulfill the desires of the consumptive community in this globalization era. Through the lens of Bourdieu, this globalization acts as a domination that occurs inevitably and should be seen in the field of fashion. In this case, fast fashion is a habitus of a modern society structure. Since modern society has been clouded by convenience, comfort, and effort to achieve a certain self-image or status satisfaction through fashion, this leads them to greed and endless consumption that can only be satisfied through the presence of this fast fashion trend. Thus, fast fashion here acts as a lifestyle, a trend, and the result of a mentality produced by the consumptive community.

II. DISCUSSION

As stated by Giddens that globalization is a dialectical process, an anti-thesis against globalization arises and known as 'Glocalization'. Glocalization is a concept brought forth by the cross-cultural paradigm, which is a mixing of cultures as a result of globalization and production, a kind of unique hybrid culture that cannot merely reduced to black and white or as merely a local or a global culture.

Roland Robertson (in Suyanto, 2013) explains that there are several important elements in the process of glocalization, among others; first, the world is now developing to become more pluralistic. Second, all individuals and local groups have tremendous power to adapt, innovate, and maneuver in a glocalized world, since a theory of glocalization views local individuals and groups as significant and creative social agents. Third, all social processes are interconnected and dependent on one another. Fourth, commodities and media are not (completely) coercive, but rather provide material to be used by an individual or groups’ creation in a glocalized world. In a simple term, glocalization is the offering process or the arrival of global products by taking into account the existing local issues. This global product can be in the form of technology or digitalization, sometimes often labeled

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as the cause of cultural and tradition fading in the area entered, but successfully adapting its global brand to the context of the existing local culture in that area. The adaptations are not always visible in the form of products, but mostly in terms of marketing strategies to attract new markets. Through this glocalization phenomenon, it is expected there will be a mindset change where globalization is not only understood as an attack on the existence of indigenous cultures but is able to become an opportunity for local existence. For a multicultural and plural country like Indonesia, glocalization is pertinent to maintain the brilliance of local potentials in the global arena.

Glocalization, for Eko Budiharjo (2012), is a globalization with local flavor with potentials that must be managed properly. It is undeniable that globalization has indeed led to an economic, political, and cultural policies convergence between countries. Therefore, this glocalization phenomenon is supposedly able to become an answer to this local existence issue. Glocalization, as an antithesis of globalization, can be used to deal with the magnitude of globalization in the form of technology, information, and communication. Nowadays, a policy of decentralization and regional autonomy frees the regions in Indonesia to manage their own household affairs in order to encourage regional autonomy to manage their local potentials. In contrast to globalization with its uniform vision, decentralization actually recognizes the existence of diverse local potentials. The local potential of a region is expected to be the key to local economic development. In today’s era of globalization and decentralization, all regions aredemanded to promote their regional autonomy, increase competitiveness and cooperation in economic activities between regions, and improve their citizens’

welfare. This local economic development, or LED, is an approach to accelerate the successful achievement of a regional economic development towards an independent and sustainable regional economy. Local products, with their uniqueness characteristics, have potentials to compete in foreign markets.

Local products belonging to the region that have uniqueness and characteristics do not rule out the possibility of being able to compete in foreign markets. As an effort to balance the global culture and local culture in a fashion sector in Indonesia, global values are adapted and combined with local cultures which later gives birth to a new identity and creativity of an Indonesian contemporary fashion and accepted by both local and global society. Which is why, in its implementation, the Indonesian identity should contain universal elements that can be accepted and understood by the world (global market), as well as show the uniqueness that can only be found in Indonesia. To make this happen, the deep substance of Indonesian’ rich cultures must be adopted and promoted which can later be accepted and belonged to the world. Here, glocalization presents as a habitus that can be used as a polarity to deal with globalization. Bourdieu (in Siregar, 2016) claims that a habitus is able to survive but can also change over time. It can structure a social structure, acts as a disposition system that can survive, or changes as a foundation for objectively structured implementation actions. Hence, through Bourdieu's point of view, the implementation of glocalization in Indonesian culture, local, elements, and tradition can become the main driving force in the field of Indonesian fashion, which brings the identify of Indonesian contemporary fashion into surface. It is expected that this identity grows and is globally accepted, while keep preserving the authentic identity through Indonesian culture and tradition.

According to its chronological timeline, Indonesian fashion experiences its history and development based on its past cultures that have shaped, colored, and been reflected in the identity of Indonesian fashion. Claire Holt in her book entitled “Tracking the Footprint of the Development of the Arts in Indonesia”expresses,

“In the unitary series of cultural growth, old and new elements overlap, mingle or sometimes coexist. Figures of year are only approximate dividers, marking the introduction of new ideas or techniques, without the need to indirectly explain the disappearance of previous traditions and habits.” (Holt, 2000)

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Tradition and culture, with all the elements inside, form the historical and timeline of fashion development in Indonesia. The History and Timeline of Indonesian Fashion itself originates from the roots of Indonesian culture that is full of various historical events, shaping its society in the habits and culture of dressing. Royo (2020) through his book that explores Indonesian Contemporary Fashion explains that generally the Indonesian fashion can be divided into five lines, namely:

1. Pre-Colonial 2. Colonial

3. Post Independence Dress

4. National Dress (Under New Order)

5. Post Reform: Modern and Contemporary Indonesian Fashion Pre-Colonial Era

During this era, Indonesian people’s clothing and ways of dressing is illustrated by the stories found on the reliefs of temples in Indonesia. The “clothing” worn on the statues and temple reliefs is simply known as “cloth”, while the details depicted are focused more on the jewelry and headdresses worn by the statues and statues. Most of the clothing or fabrics worn on the statues and reliefs are transparent or translucent and the material looks light, although the material used cannot be certainly described. Kieven (2013) describes the women depicted in the temple decorated were with jewelry and they wore a “kemben” (tube top). It is also said that noble women and their servants wore layers of cloth under their outer cloth. Therefore, it is safe to say that the higher those people’s caste and social status, the more layers of cloth they wore. Until now, kemben is often found today as a typical Javanese formal dress worn during traditional wedding ceremonies, or worn by Bedhaya and Serimpi dancers, although in the past the shape of it was only like a sheet of cloth wrapped around the body.

Colonial Era

Furthermore, around the 15th and 16th centuries, along with the establishment of the first very influential Islamic kingdom such as Demak kingdom and the decline of Majapahit régime’s influence, a “kebaya” outer was introduced. This outfit slowlyreplaced or covered kemben worn by women. Kebaya is described as a long topwear that usually reaches the hips or sometimes below the knee, long sleeves, fastened at the front with brooches and not with buttons. Vashti TrisawatiSujanto (2016) claims that this clothing was originally worn in the 15th and 16th centuries by Chinese and Portuguese Mestizo women who were living in the western peninsula of Malaysia, which was typically worn in combination with cloth or sarong to coverthe lower part of those women’s body. The Peranakans women (Chinese and Portuguese Mestizo women) or commonly known as “Nya”' or

“Nyonya” brought this outfit from Malacca to Java in the areas of Batavia, Singapore, Penang and Medan. Kebaya itself is generally made of cotton since this fiber material is plentiful in Indonesia and can be found anywhere in the Indonesian archipelago. As illustrated in the Dutch paintings, officials and members of lower social status in the 17th and 18th centuries wore light tops made of cotton. In another painting illustrating the 17^th century, women were seen wearing a sarong kebaya, while some were wearing French style clothes. From those illustrations, it can be concluded that those were the fashion of that time. Kebaya combined with sarong was very popular for women at that time, meanwhile some sacred batik motifs only be worn by the nobles also appeared in the paintings.

Socio-political changes happened in the 19th century, followed by the introduction of sewing machine that marked the technological development of the century. Until then, the elite Dutch women who followed their husband to Indonesia were advised to wear kebaya in their daily life, also because the materials of kebaya matched the tropical climate of Indonesia. Finally, kebaya became daily clothing for Dutch and Indonesian women. The cultural adoption of the local kebaya culture was eventually known as “Indische Kebaya” which was perfected using Dutch batik. The end of the 19th century was

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the rising time for batik industry and so stamped batik emerged as an innovation since this cloth could be produced faster and at a lower cost. Together with the import of imitation batik made by the Dutch cotton industry, this innovation allowed lower-class Javanese people to purchase batik also, which has eventually become known as the “national dress”.

Post Independence Era

After Indonesia declared its independence, President Soekarno launched “The Soekarno Indonesian Batik Project”. This launching marked the construction process of the national identity that was heavily influenced by Javanese culture. Likewise, The Soekarno Indonesian Batik Project was based on the initiative to establish batik companies in several important cities in Java Island. Later on, President Soekarno met Go Tik Swan (also known as Hardjonagoro), a Chinese descendant who really adored Indonesia and its batik culture. This was the beginning of “Indonesian batik”. Go Tik Swan was able to produce and innovate in batik motifs through developing batik technique and painting technique yet still preserving its philosophy, which was then converted into cloth and sarong worn by men and women at that time. The women wore their batik sarong with kebaya and modern accessories. Besides using as clothes, the Hardjonagoro (Go Tik Swan) Batik was also used as a household decoration at that time. Until now, Go Tik Swan has been known as the Master of Batik who produced hundreds of works and noble batik motifs. President Soekarno himself also succeeded in saving Indonesian batik from extinction through making it a part of the history of Indonesian independence, until finally batik becomes a significant representation and unique characteristic of the Indonesian nation to this day.

The New Order Era

In the New Order government, Ali Sadikin, the Governor of Jakarta at that time, introduced batik as a uniform or officewear for men and women. He was able to recognize the potential to promote batik textiles as a sample of Indonesian culture. Moreover, he also expected that this is a new configuration because before that, batik had never been worn as a top (usually worn only as a cloth or sarong). During his time, women were encouraged as well to wear ethnic clothing such as kebaya at national events like the celebration of Indonesian Independence Day. According to Heidi Boehlke (2011), in her research on the history of fashion in Indonesia during the New Order era, there was a massive national effort made in building Indonesian fashion culture through representing the existence of national clothes and traditional clothes of a certain region in Indonesia. Heidi calls that this effort gave birth to what is called as “Ethnafashion”, a fusion of ethnic, national, and fashion which is portrayed in the image below:

<Figure 1> Ethna Fashion by Boehlke (2011)

After 1965, IwanTirta appeared as the new Maestro of Batik. The New Order continued the Indonesian Batik Project which was initiated first by Go Tik Swan and Soekarno. During his moment, IwanTirta had provided a new development, by introducing batik as a luxurious and attractive commodity for metropolitan consumers. He understood the potentials of batik as a new commodity with a higher price

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by producing gorgeous motifs and using luxurious materials like silk. IwanTirta founded the IwanTirta Private Collection (PT. IwanTirta) in 2003 and exists until today although he passed away in 2010.

With his amazing hands, he brought forth the Batik Couture in the New Order era that has successfully survived until now as a representation of Indonesia's national culture to the world.

Post Reformation Era: Modern and Contemporary Indonesian Fashion

Prajudi is the leading name of this period, famously known for his ikat weaving (tenun ikat). He succeeded in making ikat weaving from various regions in Indonesia into clothes that could represent the Indonesian culture like batik. For his efforts to revive traditional Indonesian woven fabrics, Prajudi received the Upakarti award from President Suharto. Not only that, Prajudialso promoted the Indonesian kebaya in the concept of ready-to-wear clothes to make it easier to adapt and use.

Previously, many Indonesian women thought that wearing kebaya was too problematic for them, but Prajudi managed to change the concept so Indonesian women were willing to wear kebaya ever since the ready-to-wear concept has been applied in that cloth.

Other big and influential developments in this period were textile development, garment exports, and the rise of fashion magazines, competitions, and organizations. These developments were created to make sure that Indonesia could become one of the fashion centers in Asia until present day. Today, many fashion designers and Indonesian contemporary fashion designers still preserve the characteristics and a sense of “Indonesianess” in their works in order to exist in local and global markets.

Diachronically, it is the culture and local wisdom of various tribes and ethnicities in Indonesia that ultimately shape the identity of Indonesian Contemporary Fashion. Indeed, due to the time changes, globalization and the rapid development of technology and information technology can shift and eradicate Indonesian local culture and wisdom; therefore, it is very crucial to implement glocalization as a dichotomy to globalization. The existence of the fast fashion trend that only values profit and consumption should be converted into a step of glocalization in Indonesian fashion. In this glocalization of Indonesian fashion, its production emphasizes more on the exploration of stories, meanings, philosophies and processes in creating the national products. Later, those steps are used to make the national products accepted to compete in the global arena. Image 2 illustrates the practice of Glocalization according to Pierre Bourdieu's Interrelated Concept:

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<Figure 2> The Practice and Implementasiof Glocalisation in the Field of Contemporary Indonesian Fashion

Source: Gondoputranto, 2021

As shown in Image 2, in the field of Indonesian Contemporary Fashion, fashion designers or people act as agents who play an active role in forming a habitus. An agent has an important role in forming a habitus, because although it can last a long time, it can also change. In this case, agents can use the existing capital to fight globalization with glocalization.

The awareness and the roles of society and fashion designers in Indonesia are both needed to take advantage of the existence of technology, information and digitization. They can implement those in glocalization practice that is strengthened by capital support presenting in form of social capital (community institutions, economic capital, or cultural capital (Indonesian cultures, traditions, and local wisdom of Indonesia). By the accumulation of these various capitals, the Indonesian fashion designer and people of Indonesia as the agents will have legitimacy in carrying out glocalization practice in the field of Indonesian Contemporary Fashion. In practice, those agents in this field also compete to obtain various resources, either materially, culturally, or symbolically. For example, a fashion designer from an area which is rich in local wisdom and owns various woven fabrics with full of meaning and philosophy can provide training and establish a local weaving center.

Therefore, that fashion designer will have capital in form of various woven fabrics as material and human resources that will process those woven fabrics. Besides, he also has economic capital that can be used to develop a fashion brand. Later, when successfully penetrating the international world and make his name famously known even more, his capital will raise. In the end, he gets accumulation of all capital he has and uses, from cultural and economic capital to social and symbolic capital. Although competition exists in the field of Indonesian Contemporary Fashion, this has colorized the field itself.

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3. CONCLUSION

In the future, it is expected that the Indonesian fashion becomes more mature to compete internationally while still preserving its characteristics and authentic beauty due to its cultural diversity and socio-political condition that exists nowadays. By paying attention to the beginning of its journey until now, it can be seen that Indonesian fashion has experienced various kinds of cultural struggles, and those struggles also contribute to the development through revitalization, transformation and collaboration processes carried out by Indonesian fashion designers. As a result, Indonesian contemporary fashion should be able to survive with its existence to face globalization, by applying glocalization practice as well as maintaining its identity, a touch of local wisdom, and the traditions of this nation's diverse cultural riches that are embodied in modern clothing designs and wrapped in the essence and tradition of Indonesian culture.

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Practice and Implementation of Glocalization in the Field of Indonesian Contemporary Fashion

ADCS ISSN2189-1249 BULLETIN OF ASIAN DESIGN CULUTURE SOCIETY ISSUE NO.15 2021 SPRING AUTUMN MERGER アジアデザイン文化学会論文集 第15巻

春・秋 合併号 Issued on 05/10/2021

ADCS ISSN2189-1249

Practice and Implementation of Glocalization in the Field of Indonesian Contemporary Fashion

ADCS ISSN2189-1249 BULLETIN OF ASIAN DESIGN CULUTURE SOCIETY ISSUE NO.15 2021 SPRING AUTUMN MERGER アジアデザイン文化学会論文集　第15巻

春・秋　合併号 Issued on 05/10/2021