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All Journal Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Studi Budaya Nusantara Jejak digital: Jurnal Ilmiah Multidisiplin
Desra Imelda
Institut Seni Indonesia Padang Panjang
Religion Arts Humanities Economics, Econometrics & Finance Education Environmental Science Languange, Linguistic, Communication & Media Social Sciences Other

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FUNGSI DAN MAKNA SIMBOLIK TINGKULUAK KOTO NAN GADANG PAYAKUMBUH Desra Imelda
Studi Budaya Nusantara Vol 4, No 1 (2020)
Publisher : Studi Budaya Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

 ABSTRAKKoto Nan Gadang merupakan salah satu  nagari di Payakumbuh Utara yang masih melestarikan pakaian adat Minangkabau, ini bisa dilihat pada waktu melaksanakan upacara-upacara adat seperti acara pernikahan, batagak penghulu, dan lain-lain masyarakar masih menjunjung tinggi adat budaya daerahnya dengan masih memakai pakaian adat selama proses acara berlangsung.Penelitian ini tentang Tingkuluak Koto Nan Gadang yang dikhususkan pada fungsi dan makna simbol yang terkandung pada masing-masing tingkuluak. Diperoleh kesimpulan bahwa Tingkuluak Koto Nan Gadang memiliki beberapa fungsi yaitu sebagai pakaian adat mamanggia, pakaian untuk maanta, dan pakaian untuk menanti tamu. Tingkuluak Koto Nan Gadang juga merupakan simbol dan tanda bagi si pemakainya, orang lain akan bisa mengetahui status si pemakai dari pakaian yang dia pakai. ABSTRACT Koto Nan Gadang is one of the nagari in North Payakumbuh that still preserves Minangkabau traditional clothes, this can be seen when carrying out traditional ceremonies such as weddings, batagak pengulu, and others. The community still respects the local cultural customs by still wearing traditional clothing during the event process.This research is about Tingkuluak Koto Nan Gadang which is devoted to the function and meaning of the symbols contained in each tingkuluak. It was concluded that Tingkuluak Koto Nan Gadang has several functions, namely as mamanggia traditional clothes, clothes for maanta, and clothes to await guests. Tingkuluak Koto Nan Gadang is also a symbol and sign for the wearer, others will be able to know the status of the wearer from the clothes he wears.
REVITALISASI BAJU KURUANG BASIBA MINANGKABAU Desra Imelda
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 18, No 2 (2016): Ekspresi Seni
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1063.36 KB) | DOI: 10.26887/ekse.v18i2.92

Abstract

Baju kuruang basiba adalah baju perempuan Minangkabau yang memiliki ciri-ciri khas, pada bagian samping baju terdapat siba dengan panjangbaju sebatas lutut, leher bulat tanpa kerah dan sedikit diberi belahan sebatas dada. Penciptaan karya revitalisasi baju kuruang basiba inidipercantik dengan ornamen motif hias Minangkabau, berbagai model dan warna yang tidak terikat dengan ketentuan adat karena baju ini bertujuan bukan untuk acara-acara adat. Baju ini ditujukan untuk perempuan Minangkabau pencinta mode sehingga keberadaan baju kuruang basiba tetap lestari di tengah kehidupan masyarakat pendukungnya. Proses penciptaan karya dilalui dengan beberapa tahap, yaitu: pembuatan desain, pembuatan pola, pengguntingan, pemberian ornamen, penjahitan, dan finising.Ornamen dibuat dengan berbagai teknik, yaitu teknik jahit smock, sulam, tempel, dan teknik bordir.
Art of Beat Style dengan Teknik Cut Out Dinda Dinda; Fadri Rahmat; Desra Imelda; Mirda Aryadi
Jejak digital: Jurnal Ilmiah Multidisiplin Vol. 2 No. 4 (2026): JUNI-JULI
Publisher : INDO PUBLISHING

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.63822/cva77b34

Abstract

This fashion work is based on the development of fashion that increasingly emphasizes freedom of expression and the exploration of form in design. The Art of beatstyle was chosen as the source of inspiration due to its eccentric, creative, and unconventional visual characteristics. The purpose of this creation is to produce fashion designs that represent freedom of expression through the application of fabric manipulation techniques, particularly the cut-out technique, combined with Sashiko as a decorative element. The creation process consists of several stages, including idea exploration, design development, technical experimentation, pattern making, production, and presentation. Visual inspiration is realized through organic forms applied to the cut-out technique, creating the interplay of space, texture, and visual dimensions within the garments. The Sashiko technique is utilized to enrich surface details and enhance the aesthetic value of the designs. The final collection consists of three fashion categories: Ready-to-Wear entitled “Ruang Celah” (The Space of Gaps), Ready-to-Wear Deluxe entitled “Ruang Tumbuh” (The Growing Space), and Haute Couture entitled “Ruang Antara” (The Space Between). These three works embody the characteristics of Art of beatthrough the use of contrasting colors, organic forms, and increasingly complex cut-out explorations in each category. The collection demonstrates that the cut-out technique functions not only as a decorative element but also as a means of creating an expressive, dynamic, and artistic visual identity in fashion design.
Penciptaan Busana Art of Beat Style  Menggunakan Teknik Fabric Thread Collage Bidayatunnisa’i Bidayatunnisa’i; Fadri Rahmat; Desi Trisnawati; Desra Imelda
Jejak digital: Jurnal Ilmiah Multidisiplin Vol. 2 No. 4 (2026): JUNI-JULI
Publisher : INDO PUBLISHING

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.63822/120tke04

Abstract

This work, titled "Art of Beat Style with Fabric Thread Collage," is inspired by the freedom of contemporary visuals manifested in eccentric, artistic, and antimainstream fashion concepts. The garments are designed with dynamic asymmetrical cuts to challenge mainstream mass trends. The Art of Beat concept is visualized on the fabric surface through rich textural plays and striking, contrasting color combinations. The creator integrates Batik Truntum from Surakarta to elevate local elements and the deep philosophical meanings of tradition combined  into contemporary fashion. The color palette selection employs bold and clashing hues, namely red, yellow, pink, blue, and turquoise. The materials used in this collection include woolpeach, toyobo, texas, drill, organza, tulle, woolen threads, and Batik Truntum as the combination fabric. The creation method begins with the preparation (exploration) stage, which involves field surveys through visual observations of international designers' fashion show videos, literature reviews to gather relevant theoretical foundations, and formulating visual design ideas through moodboard compilation. The primary techniques utilized in this work are fabric thread collage (fabric surface manipulation using free-motion stitching), double-edged ruffle technique, flounce technique, and pearl bead embellishments. The final realized collection consists of three tiers of fashion lines: ready-to-wear titled (The Beat Play), ready-to-wear deluxe, and haute couture.
Co-Authors Bidayatunnisa’i Bidayatunnisa’i Desi Trisnawati Dinda Dinda Fadri Rahmat Mirda Aryadi