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Weni Nelmira
Universitas Negeri Padang
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Research Trend of Learning Media in Fashion Education in Indonesia Utami, Rima Agustia; Nelmira, Weni; Chairani, Vici Syahril; Utami, Resti
Indonesian Journal of Educational Research and Review Vol. 8 No. 2 (2025): July-INPRESS
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/ijerr.v8i2.90942

Abstract

The development of learning media in fashion education still faces limitations, particularly in the integration of digital technology to support the teaching and learning process. This condition highlights the urgency of examining research trends related to learning media in order to gain a comprehensive understanding of development directions that are relevant to current educational needs. This study aims to analyze the research trends of learning media in the field of fashion education through a bibliometric approach. The research employed a quantitative descriptive method with a bibliometric analysis design. Data were obtained from 500 articles collected through the Google Scholar database for the period 2010–2024 using the Publish or Perish application. The articles were then screened and re-verified with the assistance of Excel and Mendeley, resulting in 328 eligible articles for analysis. Data were analyzed using VOSviewer to map research trends based on keywords, publications, and inter-topic connections. The findings indicate a significant increase in the number of publications, with the peak occurring in 2023. VOSviewer analysis identified eight clusters with 104 keyword links, in which the dominant keywords include “learning media,” “video tutorial,” “e-module,” and “learning outcomes.” This study concludes that bibliometric exploration provides valuable contributions to the development of more innovative, interactive, and effective learning media, while serving as a strategic reference for enriching practices in fashion education in the future.
PENGARUH PERBEDAAN MORDAN PADA PENCELUPAN DENGAN ZAT WARNA DAUN INAI (LAWSONIA INERMIS L.) TERHADAP KAIN KATUN Muharrani, Khalishah Rezky; Adriani, Adriani; Novrita, Sri Zulfia; Nelmira, Weni
Gorga : Jurnal Seni Rupa Vol. 12 No. 2 (2023): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v12i2.50050

Abstract

Natural dyes are highly recommended as environmentally friendly dyes so they can be used continuously. This research utilizes henna leaves as a natural dye that is easy to obtain and has a coloring agent. This study means to depict: 1) the color's name (hue), 2) its value, 3) its uniformity, and 4) the effect of various mordant whitting and tunjung on the results of natural dyeing cotton fabric with henna leaf extract. The primary data used in this study come from 18 panelists, making it an experiment. The gathered information is handled and investigated with the SPSS (Factual Item and Administration Arrangement) rendition 22.0 utilizing the K-related example friedman test equation. The research results show that the colors are produced from: 1) the non-mordant dye is Golden Sundance #BB9457, 2) dyeing with whiting mordant produces Golden Sundance color #BDB76B, and 3). dyeing with Tunjung mordant produces Dark Olive Green color #32441E. The results of data value analysis obtained from the Friedman K-relative sample a significance of 0.000 which is smaller than the significance level of 0.05 or 0.000 <0.05. Then Ho is declared rejected, which is  means that there is a significant effect on the color darkness (value) due to the influence of the use of mordant whitting, and tunjung on the dyeing results of henna leaf extract (Lawsonia Inermis L) on cotton fabric. Based on the analysis obtained from the Friedman K-related test the sample for evenness of color is 0.001 which is smaller than the significance level of 0.05 or 0.001 <0.05. Then Ho was declared rejected, which meant that there was a significant difference in the evenness of the color caused by differences in mordant to the results of dyeing henna leaf extract (Lawsonia Inermis L) on cotton fiber material.Keywods: whitting, tunjung, henna leaves.AbstrakPewarna alami sangat direkomendasikan sebagai pewarna yang ramah lingkungan sehingga dapat digunakan terus menerus. Penelitian ini memanfaatkan daun inai sebagai bahan pewarna alami yang mudah diperoleh dan memiliki zat warna. Penelitian tujuannya guna mendeskripsikan 1) nama warna (hue), 2)  gelap terang warna (value), 3) kerataan warna, dan 4) pengaruh perbedaan mordan kapur sirih, dan tunjung terhadap hasil pencelupan alami menggunakan ekstrak daun inai pada kain katun. Jenis penelitian adalah eksperimen, data penelitian yang digunakan adalah data primer yang bersumber dari 18 panelis.Teknik pengumpulan data yang digunakan adalah angket, kemudian data tersebut diolah dan dianalisis dengan uji Friedman K-Related Sample.  Hasil penelitian menunjukkan bahwa warna yang dihasilkan dari: 1) pencelupan tanpa mordan adalah warna Golden Sundance #BB9457 2) pencelupan dengan mordan kapur sirih menghasilkan warna Golden Sundance #BDB76B, dan 3) pencelupan dengan mordan tunjung adalah menghasilkan warna Dark Olive Green #32441E. Hasil analisis data gelap terang yang diperoleh signifikansi sebesar 0,000 yang lebih kecil dari taraf signifikansi 0,05 atau 0,000 < 0,05. Maka Ho dinyatakan ditolak, mempunyai arti bahwa terdapat pengaruh yang signifikan terhadap gelap terang warna (value) akibat pengaruh penggunaan mordan kapur sirih, dan tunjung terhadap hasil pencelupan ekstrak daun inai (Lawsonia Inermis L) pada kain katun. Berdasarkan analisis yang di peroleh dari uji Friedman K-related sampel untuk hasil kerataan warna adalah 0,001 yang lebih kecil dibandingkan dari taraf signifikansi 0,05 atau 0,001 < 0,05. Maka Ho dinyatakan ditolak, yang berarti adanya perbedaan signifikan terhadap kerataan warna yang diakibatkan oleh perbedaan mordan terhadap hasil pencelupan ekstrak daun inai (Lawsonia Inermis L) pada bahan dari serat katun.  Kata Kunci: kapur sirih, tunjung, daun inai.Authors:Khalishah Rezky Muharrani : Universitas Negeri MedanAdriani : Universitas Negeri MedanSri Zulfia Novrita : Universitas Negeri MedanWeni Nelmira : Universitas Negeri Medan References:Abu, A., & Hading, A. (2016). Pewarnaan tumbuhan alami kain sutera dengan menggunakan fiksator tawas, tunjung dan kapur tohor. Indonesian Journal of Fundamental Sciences, 2(2), 86-91.Ahmad, A. F., & Hidayati, N. (2018). Pengaruh jenis mordan dan proses mordanting terhadap kekuatan dan efektifitas warna pada pewarnaan kain katun menggunakan zat warna daun jambu biji Australia. Indonesia Journal of Halal, 1(2), 84-88.Azizah, E., & Hartana, A. (2018). Pemanfaatan daun Harendong (Melastoma malabathricum) sebagai pewarna alami untuk kain katun. Dinamika Kerajinan dan Batik, 35(1), 1-8.Nisa, A. R., & Singke, J. (2018). Pengaruh Massa Mordan Tunjung Terhadap Hasil Pewarnaan Dengan Kulit Buah Asam (Sweettamarind) Menggunakan Teknik Tie Dye. Jurnal Tata Busana, 7(2), 41“47.Putri, A. W. A., Angelica, J., & Kartawidjaja, K. (2021). Pewarnaan dan Pemberian Motif Alami Kain Celup Ikat Itajime Shibori dengan Ekstrak Indigofera dan Tunjung. Gorga: Jurnal Seni Rupa, 10(2), 541-548.Nilamsari, Z., & Giari, N. (2018). Uji Coba Pewarna Alami Campuran Buah Secang Dan Daun Mangga Pada Kain Katun Prima. Jurnal Seni Rupa, 6(01), 839-847.Rosyida, A. (2015). Pengaruh Variasi pH dan Fiksasi pada Pewarnaan Kain Kapas dengan Zat Warna Alam dari Kayu Nangka Terhadap Kualitas Hasil Pewarnaannya. In Prosiding seminar Nasional 4th UNS SME™s Summit & Awards, Universitas Negeri Surakarta, Surakarta (pp. 101-112).Wulandari, C., Loravianti, S. R., & Jamarun, N. (2021). Pituah Paikek: Penciptaan Karya Tari Berangkat Dari Ritus Peralihan Malam Bainai Di Sumatera Barat. Gorga: Jurnal Seni Rupa, 10(2), 302-311.Zainab, Z., Sulistyani, N., & Anisaningrum, A. (2016). Penetapan parameter standardisasi non spesifik dan spesifik ekstrak daun pacar kuku (Lawsonia inermis L.). Media Farmasi: Jurnal Ilmu Farmasi, 13(2), 212-226.Zulikah, K., & Adriani, A. (2019). Perbedaan Teknik Mordanting terhadap Hasil Pencelupan Bahan Katun Primisima menggunakan Warna Alam Ekstrak Daun Lamtoro (Leucaena Leucocephala) dengan Mordan Kapur Sirih. Gorga: Jurnal Seni Rupa, 8(1), 209-213.
BENTUK DAN MAKNA BUSANA PENGHULU DI NAGARI PANYALAIAN KECAMATAN X KOTO KABUPATEN TANAH DATAR Suwandi, Azizah; Nelmira, Weni
Gorga : Jurnal Seni Rupa Vol. 12 No. 2 (2023): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v12i2.50113

Abstract

The clothes of penghulu are not only seen as an object that is useful for covering the whole body and for beauty, but it is the same with culture. Clothing also has noble values and important messages contained from ancestral cultural heritage from generation to generation, but currently people do not know the form and meaning of the penghulu™s clothing, so it is feared that one day the form and meaning of the prince's clothing will no longer be understood by the next generation furthermore. Therefore, the writer is interested in describing the penghulu's clothing in Nagari Panyalaian, X Koto District, Tanah Datar Regency which includes the form of the penghulu's clothing in terms of mutak, millinery and accessories as well as the meaning contained in the penghulu's clothing. The method used in this research is descriptive qualitative method. This research was conducted in Nagari Panyalaian, X Koto District, Tanah Datar Regency. Types of data in the form of primary and secondary data. Data collection techniques through observation, interviews and documentation. The instrument in this study was the researcher himself. Data analysis techniques that have been carried out in data collection are data reduction models, data presentation, and drawing conclusions. To get the validity of the data obtained through triangulation. The results of this study found that the clothes of the penghulu in Nagari Panyalaian, X Koto District, Tanah Datar Regency consisted of a shirt called the gadang shirt with a loose design that wore sibar and kikik on the right and left sides. The trousers are called sarawa duck palms, the complement of the penghulu™s clothing consisting of saluakbatimbo, Sisampiang, clothing, cawek, keris, tungkek, tarompa. The clothing worn by the prince in Nagari Panyalaian is traditional clothing which has a function as a symbol and meaning that reflects the personal behavior of a prince and becomes a pride of identity for the local community.Keywords: Shape, Meaning, Clothing, Penghulu. AbstrakBusana penghulu tidak hanya dilihat karena menutupi seluruh tubuh, tetapi juga dipandang sebagai bagian dari budaya. Pakaian penghulu juga mengandung nilai-nilai luhur dan pesan-pesan penting yang terkandung dalam warisan budaya nenek moyang kita yang diwariskan secara turun temurun, namun saat ini masyarakat tidak mengetahui bentuk dan makna pakaian penghulu, maka dikhawatirkan suatu saat nanti bentuk dan makna pakaian penghulu tidak lagi dipahami oleh generasi selanjutnya. Oleh karena itu penulis tertarik untuk mendeskripsikan busana penghulu di Nagari Panyalaian Kecamatan X Koto Kabupaten Tanah Datar yang meliputi bentuk busana penghulu ditinjau dari busana mutlak, milineris dan aksesoris serta makna yang terkandung dalam pakaian penghulu. Metode yang dipergunakan penelitian ini yakni metode deskriptif kualitatif. Penelitian ini dilakukan di Nagari Panyalaian Kecamatan X Koto, Kabupaten Tanah Datar. Jenis data berupa data primer serta sekunder. Teknik pengumpulan data yakni observasi, wawancara serta dokumentasi. Instrumen dalam penelitian ini adalah peneliti sendiri. Teknik analisis data yang telah dilakukan pada pengumpulan data yaitu dengan model reduksi data, penyajian data, dan penarikan kesimpulan. Untuk mendapatkan keabsahan data diperoleh melalui triangulasi. Hasil penelitian ini yang ditemukan yaitu busana penghulu di Nagari Panyalaian Kecamatan X Koto, Kabupaten Tanah Datar terdiri dari baju yang disebut baju gadang dengan desain longgar yang memkai sibar dan kikik dibagian kanan dan kiri sisi. Celanya disebut sarawa telapak itik pelengkap dari pakaian penghulu terdiri saluakbatimbo, sisampiang, kain sandang, cawek, keris, tungkek, tarompa. Pakaian yang dipakai penghulu di Nagari Panyalaian adalah pakaian adat yang memiliki fungsi sebagai lambang dan makna yang mencerminkan tingkah laku pribadi seorang penghulu dan menjadi kebanggaan identitas bagi masyarakatsetempat.Kata Kunci: Bentuk, Makna, Busana, Penghulu. Authors:Azizah Suwandi : Universitas Negeri PadangWeni Nelmira : Universitas Negeri Padang References:Anwar, R., Andra. I. S & Edward. Z (2019) Pakaian Pangulu di Nagari Gunuang Kota Padangpanjang Provinsi Sumatera Barat. Gorga Jurnal Seni Rupa, 8 (2) 332-336 https://doi.org/10.24114/gr.v8i2.14939Amhar. (2023) œBusana Penghulu Hasil Wawancara Pribadi: 5 Mei 2023, Nagari Panyalaian.Djajasudarma, Fatimah. 2008. Semantik 2: Pemahaman Ilmu Makna. Bandung: Refika Aditama.Elpalina, S,. Agustina,. Adek. C. K. A & Apdanil, S (2023) Bentuk Pakaian Adat di Batipuah Baruah Tanah Datar. Gorga Jurnal Seni Rupa, 12(1),168-173  https://doi.org/10.24114/gr.v12i1.45337Ernawati & Weni. (2008). Pengetahuan Tata Busana.Padang. UNP Press.Febri., Fahrein., Irfan., Rizky., & Rauf. (2023) œBusana Penghulu Hasil Wawancara Pribadi: 2 April 2023, Nagari Panyalaian.Kridalaksana, Harimurti. 2008. Kamus Linguistik. Jakarta: Gramedia Pustaka Utama.Lazuardi. (2023) œBusana Penghulu Hasil Wawancara Pribadi: 26 Maret 2023, Nagari Panyalaian.Marthala, Agusti Efi.(2014). Penghulu dan Filosofi Pakaian Kebesaran Konsep Kepemimpinan Tradisonal Minangkabau. Bandung: Humaniora.Rostamilis. 2005. Tata Kecantikan Rambut Jilid 3. Jakarta: Direktorat Pembinaan Sekolah Menengah Kejuruan.Salihin, A., Sulaiman, J., & Dharsono (2019)  Motif Ukiran Kerawang Gayo Pada Rumah Adat Gayo Di Kabupaten Aceh Tengah Provinsi Aceh. Gorga Jurnal Seni Rupa 8(1),69-79https://doi.org/10.24114/gr.v8i1.12797Suwandi. (2023) œBusana Penghulu Hasil Wawancara Pribadi: 26 Maret 2023, Nagari Panyalaian.Yuliarma. 2016. The Art of Embroidery Designs. Jakarta: Kepustakaan Populer Gramedia.
DESAIN DAN MAKNA BUSANA PENGHULU DI NAGARI TARAM KECAMATAN HARAU KABUPATEN LIMA PULUH KOTA Fitri, Yulianda; Nelmira, Weni
Gorga : Jurnal Seni Rupa Vol. 13 No. 1 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i01.50115

Abstract

AbstractThe clothes of the Minangkabau traditional rulers are traditional clothes that have been passed down from generation to generation. This research aims to describe the penghulu clothing in Nagari Taram, Harau District, Lima Puluh Kota Regency, which includes the design of the penghulu clothing in terms of the occasion of use and the meaning contained in the penghulu clothing. The method used in this research is a qualitative descriptive method. The types of data are primary and secondary data, data collection techniques through observation, interviews and documentation. The instrument in this study was the researcher himself. Data analysis techniques performed in data collection are data reduction models, data presentation, and conclusion drawing. The results of this research are that the headman's clothing in Nagari Taram seen from the occasion of use, there are three aleks (parties) where the headman wears different clothes for each alek. Clothing at the Alek Balambang Urek (Big Party) consists of black roomy clothes with loose designs wearing sibar and kikik on the left and right sides, sarawa gadang. The complement of the headman's clothing consists of deta bakaruik, salempang, sisampiang, cawek (belt), keris, stick, tarompa (sandals). The clothing for the Alek Bakabuang Batang (Medium Party) consists of taluak balango shirt, sarawa batiak jao, complementary clothing consists of balilik skullcap and bugis sarong. Clothing for Alek Bapangkeh Pucuak (Small Party) consists of batik clothes, basic trousers, complementary clothing consisting of balilik skullcap. The clothing worn by the headman in Nagari Taram, Harau District, Lima Puluh Kota Regency has a function as a symbol and meaning that reflects the personal behavior of a headman and is a source of pride for the local community.Keywords: design, meaning, penghulu™s attire AbstrakBusana penghulu adat Minangkabau merupakan busana adat yang diwariskan turun temurun. Penelitian ini bertujuan guna mendeskripsikan busana penghulu di Nagari Taram Kecamatan Harau Kabupaten Lima Puluh Kota yang meliputi desain busana penghulu ditinjau dari kesempatan pemakaian dan makna yang terkandung dalam busana penghulu. Metode yang dipergunakan penelitian ini yakni deskriptif kualitatif. Jenis data berupa data primer serta sekunder, teknik pengumpulan data dengan observasi, wawancara serta dokumentasi. Instrumen dalam penelitian ini adalah peneliti sendiri. Teknik analisis data yang dilakukan dalam pengumpulan data yaitu dengan model reduksi data, penyajian data, serta penarikan kesimpulan. Hasil penelitian ini yaitu busana penghulu di Nagari Taram ditinjau dari kesempatan pemakaian ada tiga alek (pesta) dimana penghulu memakai busana yang berbeda pada setiap aleknya. Busana pada Alek Balambang Urek  (Pesta Besar) terdiri dari, baju hitam lapang dengan desain longgar memakai sibar dan kikik pada sisi kiri dan kanan, sarawa gadang. Pelengkap dari busana penghulu terdiri dari deta bakaruik, salempang,  sisampiang, cawek (ikat pinggang), keris, tungkek (tongkat), tarompa (sandal). Busana pada Alek Bakabuang Batang (Pesta Menengah) terdiri dari baju taluak balango dengan desain longgar, sarawa batiak jao, pelengkap busana terdiri dari kopiah balilik dan  kain sarung bugis. Busana pada Alek Bapangkeh Pucuak (Pesta Kecil) terdiri dari baju batik, celana dasar, pelengkap busana terdiri dari kopiah balilik. Busana yang dipakai penghulu di Nagari Taram Kecamatan Harau Kabupaten Lima Puluh Kota memiliki fungsi sebagai lambang dan makna yang mencerminkan tingkah laku pribadi seorang penghulu dan menjadi kebanggaan identitas bagi masyarakat setempat.Kata Kunci: desain, makna, busana penghuluAuthor:Yulianda Fitri : Universitas Negeri PadangWeni Nelmira : Universitas Negeri Padang References:Elpalina, S., Agustina, A., Azis, A. C. K., & Syukri, A. (2023). Bentuk Pakaian Adat di Batipuah Baruah Tanah Datar. Gorga Jurnal Seni Rupa, 12(1), 168-173.Efi, A. (2006). Benda Budaya Alat Kebesaran Minangkabau: Lambang dan Makna. (Disertasi Universitas Negeri Padang).Ernawati., Izwerni. & Weni, N. ( 2008). Tata busana Jilid I, II, dan III. Jakarta: Direktorat Pembinaan Sekolah Menengah Kejuruan.Hakimy, I. (2001). Rangkaian Mustika Adat Basandi Syarak di Minangkabau. Bandung: PT. Remaja  Rosdakarya.Hamid, A. (2023). œBusana  Penghulu Di Nagari Taram. Hasil Wawancara Pribadi: 4 Mei 2023, Taram.https://doi.org/10.24036/jh.v11i1.619https://doi.org/10.24114/gr.v12i1.45337Icuk., Febriandi. (2023). œ Busana Penghulu Di Nagari Taram. Hasil Wawancara Pribadi: 23 Maret 2023, Taram.Iriani, Z. (2012). Malam Bakuruang (Berkurung) Dalam Perkawinan Alek Gadang Di Kenagarian Salayo Kecamatankubung Kabupaten Solok. Humanus Jurnal Ilmiah Ilmu-Ilmu Humaniora, 11(1),12-17.Marthala, A. E. (2014). Penghulu Dan Filosofi Pakaian Kebesaran Konsep Kepemimpinan Tradisional Minangkabau. Bandung: Humaniora.Rachmadi., Fandy, F., Rafi, K., Willy, S. & Arif, R. (2023). œBentuk Dan Makna Busana Penghulu Di Nagari Taram. Hasil Wawancara Pribadi: 24 April 2023, Taram.Yuliarma. (2016). The Art of Embroidery Designs. Jakarta: Kepustakaan Populer Gramedia.
ANALISIS PERBEDAAN HASIL BORDIR MESIN MANUAL (KERANCANG) MEMAKAI BENANG SEKOCI YANG TIDAK SAMA DI KAIN DUCHESS Afaf, Zafirah; Nelmira, Weni
Gorga : Jurnal Seni Rupa Vol. 12 No. 2 (2023): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v12i2.50994

Abstract

This study is based on the background of the many found embroideries that are less balanced between the lifeboat thread and the material so that the embroidery results look stiff on the material that is loose or vice versa. The purpose of this study is to obtain an explanation of the description of the results of manual machine embroidery of designs on duchess  fabric using lifeboat threads such as embroidery thread, sewing thread, and obras thread and to obtain an explanation of the effect of different lifeboat threads on the finished results of manual machine embroidery on duchess  fabric. This research uses an experimental system. The object studied was the result of manual machine embroidery on duchess  fabric using lifeboat thread in the form of sewing thread, obras thread, and embroidery thread. The assessors in the study were 5 validators. The instrument in this research is through a questionnaire. The results of manual machine embroidery (sassy) using lifeboat thread in the form of sewing thread are "very neat, very stable, and soft". Then, the finished result of manual machine embroidery (sassy) using lifeboat thread in the form of obras thread is "neat, stable, and soft". Furthermore, the results of manual machine embroidery (sassy) using lifeboat thread in the form of embroidery thread are "very neat, very stable, and very soft". The results of embroidery on duchess  fabric are influenced by the use of different lifeboat threads. Also, if you want to produce embroidery whose results are very soft, very neat, and very stable on bridal materials, it is recommended to use lifeboat threads in the form of embroidery threads.Keywords: thread, sassy embroidery, duchess , lifeboat. AbstrakRiset ini berlatar belakang dari banyaknya ditemukan bordiran yang kurang seimbang antara benang sekoci dengan bahan sehingga hasil bordirannya terlihat kaku pada bahan yang melangsai atau sebaliknya. Tujuan dari penelitian ini ialah untuk memperoleh penjelasan tentang uraian hasil bordir kerancang mesin manual di kain duchess dengan memakai benang sekoci seperti benang bordir, jahit, dan benang obras serta untuk mendapatkan penjelasan tentang pengaruh benang sekoci yang berbeda terhadap hasil jadi bordir mesin manual di kain duchess. Riset ini memakai sistem eksperimen. Objek yang diteliti ialah hasil bordir kerancang mesin manual pada kain duchess memakai benang sekoci berupa benang jahit, benang obras, dan benang bordir. Penilai pada penelitian ialah 5 orang validator. Instrumen pada riset ini melalui kuesioner. Hasil bordir mesin manual (kerancang) memakai benang sekoci berupa benang jahit adalah œsangat rapi , sangat stabil, dan lembut. Lalu, hasil jadi bordir mesin manual (kerancang) memakai benang sekoci berupa benang obras adalah œrapi, stabil, dan lembut. Selanjutnya, hasil bordir mesin manual (kerancang) memakai benang sekoci berupa benang bordir adalah œsangat rapi, sangat stabil, dan sangat lembut. Hasil bordir kerancang dikain duchess dipengaruhi oleh penggunaan benang sekoci yang berlainan. serta, jika ingin menghasilkan bordiran yang hasilnya sangat lembut, sangat rapi, dan sangat stabil di bahan bridal disarankan menggunakan benang sekoci berupa benang border.Kata Kunci: benang, bordir kerancang, duchess , sekoci. Authors:Zafirah Afaf : Universitas Negeri PadangWeni Nelmira : Universitas Negeri Padang References:Arleni, I. (2023). œPenggunaan Benang Sekoci Untuk Bordir Kerancang. Hasil Wawancara Pribadi: 23 Juli 2023, Universitas Negeri Padang.Bastaman, W. N. U., & Fadliani, T. N. I. (2020). Pengembangan Motif Bordir Kerancang Tasikmalaya dengan Software JBatik. Dinamika Kerajinan dan Batik, 37(2), 371632.Bernette, M. (2020). 13 Jenis Benang Jahit Yang Digunakan Untuk Menjahit atau Menghias Pakaian. Diakses pada tanggal 9 Maret 2023. https://shop.mybernette.id/Budiyono, Sudibyo, W., Herlina, S., Handayani, S., Parjiyah, Pudiastuti, W., Palupi, D. S., Syamsudin, Irawati, & Parjiyati. (2008). Kriya Tekstil Jilid 2. In Paper Knowledge. Toward a Media History of Documents (Vol. 3). Direktorat Pembinaan Sekolah Menengah Kejuruan.Ernawati, Izwerni, & Nelmira, W. (2008). TATA BUSANA SMK JILID 2. Direktorat Pembinaan Sekolah Menengah Kejuruan.Hasyim, H. (2009). Bordir Aplikasi. Surabaya: Tiara Aksa.Nelmira, W., Adriani, & Halmawati. (2021). Desain Motif , Alat dan Proses Pembuatan Kerajinan Bordir Kerancang Bukittinggi. Jurnal Pendidikan Tambusai, 5, 542“550. https://jptam.org/index.php/jptam/article/view/Noerati, Gunawan, Ichwan, M., & Sumihartati, A. (2013). Teknologi Tekstil. Academia.Edu, 382.Nurdhani, D. P. A., & Wulandari, D. (2016).Teknik Dasar Bordir (B.Trimansyah (ed.)). Direktorat Pembinaan Kursus dan Pelatihan.Poespo, Goet. (2005). Pemilihan Bahan Tekstil. Yogyakarta: Kanisius.Prawirosentono, S. 2004. Filosofi Baru Tentang Manajemen Mutu Terpadu Total Quality Management Abad 21 Studi Kasus & Analisis. Jakarta: PT. Bumi Aksara.Ramadhani, S. A., & Nelmira, W. (2023). Transformasi Motif Burung Merak Pada Produk Bordir Kebaya Di Kecamatan Harau Kabupaten Lima Puluh Kota. Gorga Jurnal Seni Rupa, 12 (November 2022). https://jurnal.unimed.ac.id/2012/index.php/gorga/article/view/.Sugiyono, S. (2022). Metode Penelitian Kuantitatif, Kualitatif, dan R&D. Bandung: Alfabeta.Suhersono, H. (2005). Desain Bordir Motif Fauna. Jakarta: Gramedia Pustaka Utama.Suhersono, H. (2011). Mengenal Lebih Dalam Bordir Lukis Transformasi Seni Kriya Ke Seni Lukis. Jakarta: Dian Rakyat.Suliyanthini, D. (2016). Ilmu Tekstil. In PT Raja Grafindo Persada (Vol. 290, Issue 1).Susiani, R., & Ernawati, E. (2019). Strategi Produk Bordir di Kapalo Koto, Koto Tangah Simalanggang, Kota Payakumbuh (Studi Kasus di Usaha Bordir Limpapeh (Kebaya). Gorga: Jurnal Seni Rupa, 8(1), 111-119. https://jurnal.unimed.ac.id/2012/index.php/gorga/article/view/.Veera Zahara, S., & Mukhirah, F. (2018). Daya Tarik Wisatawan pada Produk Kerajinan Bordir Aceh. Jurnal Ilmiah Mahasiswa Pendidikan Kesejahteraan Keluarga, 3(1). https://jim.usk.ac.id/pkk/article/view/15693/.Yuliarma, Y. (2016). The Art of Embroidery Designs. Jakarta: Kepustakaan Populer Gramedia.Zyahri, M. (2013). Pengantar Ilmu Tekstil 2. In Kemendikbud.
PENGARUH PERBEDAAN JUMLAH HELAI BENANG SULAM DMC TERHADAP HASIL SULAMAN TERAWANG INGGRIS PADA BAHAN KATUN TOBOYO Ananda, Putri; Nelmira, Weni
Gorga : Jurnal Seni Rupa Vol. 13 No. 1 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i01.56132

Abstract

Embroidery Terawang Inggris, or known as DMC embroidery (Dollfus-Mieg et Compagnie), is one of the captivating white embroidery techniques in textile art. The use of various numbers of thread strands in the embroidery process can affect the quality of the final result. This research aims to determine the influence of different numbers of DMC embroidery thread strands on the results of English terawang embroidery on Toyobo cotton fabric using 1, 2, and 3 thread strands based on stitch density, stitch neatness, and stitch balance. This research uses an experimental method, with the number of samples as panelists being 16 respondents. The sampling technique uses purposive sampling, while the data collection technique uses a questionnaire. Data analysis techniques use descriptive analysis and hypothesis testing using the Friedman test. The research results obtained that Embroidery with 1 thread strand resulted in "Dense" (77.08%), 2 thread strands "Very Dense" (91.67%), and 3 thread strands achieved optimal density (95.00%). In terms of neatness, 1 thread strand is "Very Neat" (87.75%), 2 thread strands (87.25%), and 3 thread strands are very neat (89.25%). Meanwhile, stitch balance shows 1 and 2 thread strands are "Very Balanced" (81.37% and 87.45%), while 3 thread strands achieve high quality (84.17%). There is a significant difference in using 1, 2, and 3 threads of DMC Embroidery in terms of density, neatness, and stitch balance.Keywords: thread strand, density, neatness, balance.AbstrakSulaman Terawang Inggris, atau dikenal sebagai sulam DMC (Dollfus-Mieg et Compagnie), merupakan salah satu teknik sulaman putih yang memikat dalam seni tekstil. Penggunaan berbagai jumlah helai benang pada proses sulaman tersebut dapat mempengaruhi kualitas hasil akhir. Penelitian ini bertujuan untuk mengetahui pengaruh perbedaan jumlah helai benang sulam DMC terhadap hasil sulaman terawang Inggris pada bahan katun toboyo menggunakan 1, 2, dan 3 helai benang berdasarkan kerapatan tusuk, kerapian tusuk, dan keseimbangan tusuk. Penelitian ini menggunakan metode eksperimen, dengan jumlah sampel sebagai panelis sebanyak 16 orang responden. Teknik pengambilan sampel menggunakan metode purposive sampling, sedangkan teknik pengumpulan data menggunakan kuesioner.  Teknik analisis data menggunakan analisis deksriptif dan uji hipotesis menggunakan uji Friedman. Hasil penelitian diperoleh bahwa Sulaman dengan 1 helai benang hasilnya "Rapat" (77.08%), 2 helai benang "Sangat Rapat" (91.67%), dan 3 helai benang mencapai kerapatan optimal (95.00%). Dalam hal kerapian, 1 helai benang "Sangat Rapi" (87.75%), 2 helai benang (87.25%), dan 3 helai benang sangat rapi (89.25%). Sedangkan keseimbangan tusuk menunjukkan 1 dan 2 helai benang "Sangat Seimbang" (81.37% dan 87.45%), sementara 3 helai benang mencapai kualitas tinggi (84.17%). Terdapat perbedaan yang signifikan dalam menggunakan 1, 2, dan 3 helai benang Sulaman DMC terhadap kerapatan, kerapian dan keseimbangan tusuk.Kata Kunci: helai benang, kerapatan, kerapian, keseimbangan. Authors:Putri Ananda : Universitas Negeri PadangWeni Nelmira : Universitas Negeri PadangReferences:Budiyono, Sudibyo, W., Herlina, S., Handayani, S., Parjiyah, Pudiastuti, W., Syamsudin, Irawati, Parjiyati, & Palupi, D. S. (2008). Kriya Tekstil. Jakarta: Direktorat Pembinaan Sekolah Menengah Kejuruan.Ernawati. (2008). Tata Busana Jilid 2. Jakarta: Direktorat Pembina Sekolah. Menengah Kejuruan.Puspitasari, D., & Yulistiana. (2014). Pengaruh Jumlah Helai Benang Katun Terhadap Hasil Jadi Sulaman Hardanger Pada Bolero. e-Journal. 3(1), 130-139.Sania, F. (2018). Analisis Produk Sulaman Aplikasi Pada Mata Kuliah Seni Sulaman. Journal of Chemical Information and Modeling, 53(9), 1689“1699.Syafrina, I., & Nelmira, W. (2019). Pengembangan Bahan Ajar Pembuatan Sulaman Timbul Pada Mata Kuliah Sulaman Universitas Negeri Padang. Gorga Jurnal Seni Rupa, 8(1), 105-110.Syifa, S. Z. A., & Radiona, V. (2022). Penilaian Hiasan Sulam Sashiko Pada Busana Anak. Practice of Fashion and Textile Education Journal, 1(1). 23-29.Yuliarma. (2016). The Art of Embroidery Designs. The Art of Embroidery Designs: Mendesain Motif Dasar Bordir dan Sulaman. Jakarta: Gramedia.Yuliarma & Norita, R. (2023). Pengaruh Jumlah Helai Benang Terhadap Nilai Estetika Dan Mutu Sulaman Terawang Hardanger Pada Sarung Bantal Sofa. Dimensi, 19(2). 169-184Wasia, R. (2009). Keterampilan Menghias Kain. Bandung: Askara BandungWidarwati, S. (2000). Desain Busana 1. Yogyakarta: Jurusan Pendidikan. Kesejahteraan Keluarga Fakultas Teknik Universitas Negeri Yogyakarta.
Results of Origami a Pleated Pentagon Dress Utilizing Shantung and Duchesse Fabrics Aksari, Khairani; Nelmira, Weni
Gorga : Jurnal Seni Rupa Vol. 13 No. 2 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i2.62632

Abstract

Origami is a traditional Japanese paper craft technique that employs transformational reconstruction, a creative pattern-making method that creates a three-dimensional effect on fashion pieces. One notable design utilizing the origami technique is the origami a pleated pentagon dress. The construction of this dress is influenced by the type of material used. The primary objective of this research is to describe the outcomes of the origami a pleated pentagon dress using shantung and duchesse materials in terms of the stability of the origami shape, origami folds, and size accuracy. Additionally, it aims to identify the differences in the results obtained using these materials. This research falls under the category of applied research. The data collection method employed a questionnaire administered through a research instrument utilizing a Likert scale assessment conducted by 15 panelists. Data analysis techniques utilized quantitative descriptive and inferential analysis. The results obtained for the origami a pleated pentagon dress constructed using shantung material yielded an overall percentage value of 64.39%, categorized as quite suitable. Conversely, the results obtained for the origami a pleated pentagon dress constructed using duchesse material yielded an overall percentage value of 78.60%, categorized as suitable. Based on the independent sample t-test, the significance value obtained was 0.001< 0.05, indicating a difference in the results obtained using shantung and duchesse fabrics.
Suitability of Antonio Donnanno’s Basic Pattern System to Indonesian Women’s Ideal Body Shape Rahman, Wulandari Mulia; Nelmira, Weni
Gorga : Jurnal Seni Rupa Vol. 13 No. 2 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i2.62674

Abstract

Antonio Donnanno's basic pattern system is an Italian pattern found in Antonio Donnanno's 2014 creation book. The special feature of this basic pattern system is that there is a dart on the shoulder of the front body and the neck of the back body. This research is motivated by the problem of not knowing the suitability of this basic pattern on the ideal body shape of Indonesian women. The purpose of this research is to describe the weaknesses, how to improve them, and the suitability of Antonio Donnanno’s system on the ideal body shape of Indonesian women. This research is an applied research with the object of research on the basic pattern of the Antonio Donnanno system on the ideal body shape of Indonesian women with a height of 168 cm and a weight of 58 kg. The research instrument was a questionnaire using a Likert scale. The assessment was carried out by 3 panelists, namely fashion lecturers who are experts in the field of patterns by fitting. The data analysis technique used descriptive quantitative. The results showed that the basic pattern of the Antonio Donnanno system on the ideal body shape of Indonesian women had several weaknesses, including: 1) neck circumference of the front waist length up 1 cm , 2) front torso width 2 cm excess, and 3) hip side 2 cm excess. How to fix them, namely: 1) the neck circumference of the front waist length is increased by 1 cm, 2) the front torso width is reduced by 1 cm, and 3) the side of the hip is formed without increasing 5 cm. Therefore, it can produce a basic pattern that is suitable for the ideal body shape of Indonesian women. This is based on the percentage obtained in fitting II, which is 95% very suitable. The suitability of the pattern is obtained by adjusting the pattern by fixing the weaknesses of the basic pattern of the Antonio Donnanno system.
Suitability of Gareth Kershaw System Pantaloon Pattern on Tall-Fat Indonesian Adult Men Kholizah, Kholizah; Nelmira, Weni
Gorga : Jurnal Seni Rupa Vol. 13 No. 2 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i2.62689

Abstract

The Gareth Kershaw pantaloon pattern is not yet known whether it is suitable for tall, fat Indonesian adult men. The purpose of this study was to describe the weaknesses, how to improve, and adjust the Gareth Kershaw pantaloon pattern for tall, fat Indonesian men. The type of research used is applied research. The object of the study is the Gareth Kershaw pantaloon pattern, which was tested on tall, fat Indonesian adult men with a height of 178 cm and a weight of 73 kg. The research instrument used was a questionnaire using a Likert scale. The assessment was carried out by 3 panelists, namely those who were skilled and experts in men’s clothing. The data analysis technique used was descriptive statistics in the form of percentage formula calculations using Microsoft Excel. The results of the study showed that the Gareth Kershaw pantaloon pattern had weaknesses in the following sections: 1) hip circumference, 2) thigh circumference, 3) trouser length. The weaknesses were corrected in the pattern and trousers to produce a Gareth Kershaw pantaloon pattern that was suitable for tall, fat Indonesian adult men.
The Effect of Kufner Interfacing on the Collar Outcome of Men's Suit on Size M Dummy Savitri, Riska; Nelmira, Weni
Gorga : Jurnal Seni Rupa Vol. 13 No. 2 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i2.63660

Abstract

This research is motivated by the need to understand the impact of Kufner interfacing on the collar results of men's blazers on size M dummies. The purpose of this study is to describe the results of the blazer collar based on three main aspects: flatness, neatness, and balance, using Kufner interfacing. This study used an experimental method conducted from November to February 2024. Primary data were obtained from the assessments of 16 panelists, consisting of 4 lecturers and 12 trained students. The research instrument was a questionnaire, and the data were analyzed using descriptive analysis and the Friedman test to test the hypothesis. The results showed that the use of Kufner interfacing resulted in flatness of 80.47%, neatness of 91.67%, and balance of 88.28%, with all aspects rated in the “Very Good” category. The hypothesis test showed that Kufner interfacing significantly affected the flatness, neatness, and balance of the blazer collar, with a probability value smaller than the significance level (p < 0.05). This indicates that Kufner interfacing provides optimal results in the process of making men's blazer collars on size M dummies.
Co-Authors A.R, Sannia Lauren Abdullah, MT, Dr. Rijal Abidah, Zhafira Suci Adriani ADRIANI ADRIANI Adriani Adriani Afaf, Zafirah Afnur Saputri. Ys Afria, Reni Afrianti, Dewi Agusti, Riri Agustin, Vita Aulya Aini, Lihuri Aksari, Khairani Almagita, Rachmy Bunga Ambiyar, Ambiyar Amelia, Desry Ananda, Putri Annisa Suryani Aprilia, Nova Azizah Suwandi Azka Hayati Azzahra, Raudhatul Chairani, Vici Syahril Deviani Deviani DEWI RAHMAWATI Dewi, Liyan Puspita Diah Cahyani Dini Rahayu Efriani, Rimelda Elliza, Fidya Ernawati Ernawati Ernawati Ernawati Nazar Febriana, Vina Fia Andani Fithri, Aulya Fitri, Yulianda Geby Meyliona Hadiastuti, Hadiastuti Hadzirotun Nadawiyah Hafidza , Hikmah Halmawati, Halmawati Hardianti, Witria Hasanah, Nursanti Hastuti, Meidina Hazri Lathifatun Nisa Hervilas, Vivi Indriani, Suci Ira Syafrina Irdha Yusra Juwita, Syahrida KH, YUSNIMAR Khairani Aksari Khairani, Fitranada Ihsanul Khairani, Riva Khalishah Rezky Muharrani Kholizah Kholizah Kholizah, Kholizah Lestari, Syawalia Mardalena, Tari Novelia Marna, Jean Elikal Mauli Datul Gustia Mawaddah, Khamilah Misnawati, Tri Muharrani, Khalishah Rezky Ningsih, Tri Osvira Nisa, Hazri Lathifatun Nita Sahara Nizwardi Jalinus Nopri Yulia Novrita, Sri Zulfia Novrita, Sri Zulvia Nurfadhila, Emi Nurul Aflah Oktarina, Silvi Pratiwi, Dara Mia Pratiwi, Mala Maulidina Puji Hujria Suci PUSPANELI, PUSPANELI Putri Ananda Putri, Azizah Dwi Putri, Zahwa Miffia Rafikah Husni Rahmadani, Latifa Rahman, Wulandari Mulia Rahmona Dinayu Rasyid, Ranny Reni Fitria RESTI UTAMI Riani, Aqsya Ridwan Riska Savitri Roza, Silvia Rusda, Rusda Saputri, Rien Ana Savitri, Riska Sri Ayu Ramadhani Susana Anggraini Susmelly, Sri Suwandi, Azizah Syafriati Syafriati Turrahmah, Diah Utami, Rima Agustia Wari, Felmi Waskito Widi Aliffa Izzara Wihandira Wihandira Wildati Zahri Wulan Dari, Ponda Tiara Wulandari Mulia Rahman Yasnidawati Yasnidawati Yulandari, Cristya Zafirah Afaf Zanil, Ilham