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All Journal Panggung Atrat: Jurnal Seni Rupa Jurnal Pendidikan dan Penciptaan Seni Style : Journal of Fashion Design
Mira Marlianti, Mira
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Pergeseran Bentuk Siluet Kostum Tari Jaipongan Tahun 1980-2010 Marlianti, Mira; Saidi, Acep Iwan; Destiarmand, Achmad Haldani
PANGGUNG Vol 27, No 1 (2017): Pergeseran Dimensi Estetik dalam Teknik, Pragmatik, Filsafat, dan Imagi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v27i1.233

Abstract

ABSTRACKThis article is aimed at identifying the shift in silhouette of Jaipongan costume from its first appearance (in 1980) until thirty years later (2010). The silhouette of Jaipongan costume keeps changing at present, and is believed to become trends followed by other costume designers in different areas. Since it has never been studied by other researchers, the study result is expected to be the reference for future studiesthat focus on Jaipongan. The approach used in this study is aesthetics of form. The result shows that the aesthetics shift in silhouette of Jaipongan costume took place because the designers hadopportunities and freedom to be more expressive in designing Jaipongan dance costumes appropriate to current trends of the era and of the show. The shifts includesilhouette of blouse that entirely appears in silhouette fited and silhouette of skirt from slim line to fit and flare line. While the silhoutte cutting has shifted from amphora silhouette, hourglass silhouette, redingote silhouette toextra redingote silhouette.Keywords: shift, silhouette, Jaipongan costume periode 1980-2010ABSTRAKTampilan kostum Jaipongan sejak awal kemunculannya hingga kini semakin bervariasi, sehingga memungkinkan terjadinya pergeseran dalam hal siluet kostumnya. Tulisan ini bertujuan mengidentifikasi pergeseran bentuk siluet kostum Jaipongan tahun 1980-2010 di wilayah Bandung. Persoalan ini penting dikaji karena kajian terhadap bentuk siluet kostum Jaipongan belum pernah dilakukan oleh peneliti lain dan kostum Jaipongan di Bandung disinyalir menjadi trend senter yang banyak ditiru para penata kostum di wilayah lainnya.Tahun 1980-2010 dipilih karena untuk melihat pergeseran bentuk siluet kostum Jaipongan dari awal kemunculannya hingga genap tiga puluh tahun keterkinian-nya yang masih terus berkembang hingga kini. Pendekatan yang digunakan untuk kepentingan tersebut adalah estetika. Hasil kajian menunjukkan bahwa pergeseran bentuk siluet kostum Jaipongan terjadi karena bermunculanya kreativitas-kreativitas baru yang lebih bebas dan lebih ekspresif dalam hal perancangan desain kostum tari Jaipongan, sebagai upaya menyeimbangan akan tuntutan jaman dan tuntutan pertunjukan. Pergeseran tersebut meliputi siluet kostum atasan yang seluruhnya tampil dalam silhouette fited, dan bentuk siluet kostum bawahan yang berawal dari slim line menjadi fit and flare line. Adapun potongan silhouette diawali amphora silhouette, hourglass silhouette, redingote silhouette, dan diakhiri ekstra redingote silhouette.Kata Kunci: pergeseran, bentuk siluet, kostum Jaipongan rentang tahun 1980-2010 
Pergeseran Bentuk Siluet Kostum Tari Jaipongan Tahun 1980-2010 Marlianti, Mira; Saidi, Acep Iwan; Destiarmand, Achmad Haldani
PANGGUNG Vol 27, No 1 (2017): Pergeseran Dimensi Estetik dalam Teknik, Pragmatik, Filsafat, dan Imagi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (777.283 KB) | DOI: 10.26742/panggung.v27i1.233

Abstract

ABSTRACKThis article is aimed at identifying the shift in silhouette of Jaipongan costume from its first appearance (in 1980) until thirty years later (2010). The silhouette of Jaipongan costume keeps changing at present, and is believed to become trends followed by other costume designers in different areas. Since it has never been studied by other researchers, the study result is expected to be the reference for future studiesthat focus on Jaipongan. The approach used in this study is aesthetics of form. The result shows that the aesthetics shift in silhouette of Jaipongan costume took place because the designers hadopportunities and freedom to be more expressive in designing Jaipongan dance costumes appropriate to current trends of the era and of the show. The shifts includesilhouette of blouse that entirely appears in silhouette fited and silhouette of skirt from slim line to fit and flare line. While the silhoutte cutting has shifted from amphora silhouette, hourglass silhouette, redingote silhouette toextra redingote silhouette.Keywords: shift, silhouette, Jaipongan costume periode 1980-2010ABSTRAKTampilan kostum Jaipongan sejak awal kemunculannya hingga kini semakin bervariasi, sehingga memungkinkan terjadinya pergeseran dalam hal siluet kostumnya. Tulisan ini bertujuan mengidentifikasi pergeseran bentuk siluet kostum Jaipongan tahun 1980-2010 di wilayah Bandung. Persoalan ini penting dikaji karena kajian terhadap bentuk siluet kostum Jaipongan belum pernah dilakukan oleh peneliti lain dan kostum Jaipongan di Bandung disinyalir menjadi trend senter yang banyak ditiru para penata kostum di wilayah lainnya.Tahun 1980-2010 dipilih karena untuk melihat pergeseran bentuk siluet kostum Jaipongan dari awal kemunculannya hingga genap tiga puluh tahun keterkinian-nya yang masih terus berkembang hingga kini. Pendekatan yang digunakan untuk kepentingan tersebut adalah estetika. Hasil kajian menunjukkan bahwa pergeseran bentuk siluet kostum Jaipongan terjadi karena bermunculanya kreativitas-kreativitas baru yang lebih bebas dan lebih ekspresif dalam hal perancangan desain kostum tari Jaipongan, sebagai upaya menyeimbangan akan tuntutan jaman dan tuntutan pertunjukan. Pergeseran tersebut meliputi siluet kostum atasan yang seluruhnya tampil dalam silhouette fited, dan bentuk siluet kostum bawahan yang berawal dari slim line menjadi fit and flare line. Adapun potongan silhouette diawali amphora silhouette, hourglass silhouette, redingote silhouette, dan diakhiri ekstra redingote silhouette.Kata Kunci: pergeseran, bentuk siluet, kostum Jaipongan rentang tahun 1980-2010 
PERANCANGAN GAUN PESTA BAHAN LIMBAH KARUNG PLASTIK DENGAN APLIKASI MOTIF BATIK MEGAMENDUNG Midawati, Midawati; Winarno, Ari; Marlianti, Mira
ATRAT: Jurnal Seni Rupa Vol 5, No 1 (2017): EKSPLORASI SENI DALAM PANGGUNG DAN RUPA
Publisher : Jurusan Seni Rupa STSI Bandung

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Abstract

Design party gown waste materials sacks plastic with application a batik megamendung is an effort environment preservation and cultural integrated in a party gown. The benefit of the idea that the minimize waste sacks plastic difficult to decompose and reappointed a batik megamendung in a new look. And open new perseps that party gown not always have to use fancy material and expensive. As for levels that is 1. The design process among others making sketch design, master design, hanger design, hanger material, until real work 2. The production process among others clean waste, makes pattern gown, cut materials, sewing, and apply a batik megamendung of sequin in gown. The fashion show employed to deliver messages on the public especially woman and is expected to be an inspiration and motivation to achieve the environmental concervation efforts and Indonesian culture. Keyword: Party Gown, Waste Sacks Plastic, Motive, Batik, Megamendung________________________________________________________________ Perancangan  gaun pesta bahan limbah karung plastik dengan aplikasi motif batik megamendung merupakan upaya pelestarian lingkungan dan budaya yang dipadukan dalam sebuah gaun pesta. Manfaat dari gagasan tersebut yaitu meminimalisir limbah karung pastik yang sulit terurai dan mengangkat kembali motif batik megamendung dalam tampilan baru. Serta membuka persepsi baru bahwa gaun pesta tidak selalu harus menggunakan bahan mewah dan mahal. Adapun tahapannya yaitu 1) proses desain antara lain membuat sketsa desain, master desain, hanger desain, hanger material, hingga karya nyata; 2) Proses produksi antara lain membersihkan limbah, membuat pola gaun, memotong bahan, menjahit, dan mengaplikasikan motif batik mega mendung dari payet pada gaun. Fashion show digunakan untuk menyampaikan pesan pada masyarakat umum khususnya wanita dewasa dan diharapkan menjadi inspirasi sekaligus motivasi dalam mewujudkan upaya pelestarian lingkungan dan budaya Indonesia.Kata Kunci: Gaun Pesta, Limbah Karung Plastik, Motif, Batik, Mega Mendung
Aplikasi Bebegig Sukamantri dengan Punch Needle pada Hanbok Modern Ulhaq, Nazla Aisy; Suharno, Suharno; Marlianti, Mira
Jurnal Pendidikan dan Penciptaan Seni Vol 4, No 1 (2024): Jurnal Pendidikan dan Penciptaan Seni - Mei
Publisher : Mahesa Research Center

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34007/jipsi.v4i1.485

Abstract

Penciptaan karya ini didasari oleh pengalaman empirik pengkarya ketika melihat realitas ,bahwa hanbok bukan hanya menjadi pakaian tradisional tetapi telah menjadi ikon busana modern Korea Selatan. Terkait dengan hal ini pengkarya membuat ready to wear deluxe inspirasi hanbok bergaya modern dengan memberi nuansa Indonesia yakni ornamen Bebegig yang dikontruksi dengan teknik punch needle. Selain itu teknik crochet juga diaplikasikan pada karya ini untuk memberi kesan sentuhan tradisional.  Bebegig dipilih karena merupakan artefak budaya Sunda yang belum pernah dibuat motif pada hanbok dengan teknik punch needle.  Berangkat dari hal tersebut jelaslah tujuan pengkaryaan ini, yakni untuk memperkaya bentuk hanbok dengan nuansa Indonesia agar secara budaya hanbok lebih dikenal lagi di Indonesia dan sebaliknya Bebegig dikenal di Korea Selatan. Untuk mencapai tujuan tersebut, metode penciptaan yang digunakan adalah eksplorasi, perancangan, dan perwujudan. Adapun hasil proses kreatif pengkaryaan ini adalah sembilan look ready to wear deluxe yang disajikan di Indonesia Fashion Week 2024.
Cunduk Mentul sebagai Inspirasi Motif Kain dengan Teknik Laser Cutting pada Penciptaan Ready to Wear Deluxe Bergaya Romantic Edgy Dianova, Dahlia; Marlianti, Mira; Kurniawan, Hadi
Style : Journal of Fashion Design Vol 3, No 2 (2024): Style: Journal of Fashion Design
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/style.v3i2.4247

Abstract

Cunduk mentul, better known as kembang goyang, is an original Indonesian headdress accessory that symbolizes the blessing of female beauty in the hope of being able to face life wisely. The younger generation does not know the meaning and philosophy of this local wisdom, so there is a need to preserve this cultural heritage. This work aims to create a romantic edgy style deluxe ready to wear fashion with laser cutting technique inspired by the cunduk mentul motif. The shape of cunduk mentul is transformed into a fabric motif with laser cutting technique applied to ready to wear deluxe in romantic edgy style. The methods used are exploration, design, and realization. The hope of this work is to add to the diversity of motif designs and works of Indonesian fashion as well as to add insight and a sense of concern for the younger generation towards the preservation of cunduk mentul accessories. The results of the work were realized in six deluxe ready to wear fashion looks presented in the Fashion Show Jogja Fashion Parade (JFP) 2024.
BATIK MOTIF BABARAN AGUNG: Proses Penciptaan dan Aplikasinya pada Ready to Wear Deluxe Putri, Adestya Rahmana; Suharno, Suharno; marlianti, Mira
Style : Journal of Fashion Design Vol 4, No 1 (2024): Style : Journal Of Fashion Desain
Publisher : Institut Seni Indonesia Padangpanjang

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Abstract

This article is based on the empirical experience of the author in creating the Babaran Agung batik pattern at the Sekar Ayu Batik Studio in Tuban, East Java, in 2023. The process of creating this batik pattern involved an academic approach supported by a studio approach. The academic approach refers to a systematic process that must involve scientific principles in the creation of the batik pattern, while the studio approach emphasizes practicality, though not entirely. The combination of these two approaches has not been found by the creator in various references regarding the process of creating batik pattern. Therefore, the purpose of this writing is to enrich the concept of batik motif creation by combining academic elements supported by a studio approach. Methodologically, the creation of this batik motif was carried out through three stages: exploration, design, and realization, each of which involved the studio approach. The result of the creation is a hand-drawn batik fabric with the Babaran Agung motif, applied to ready-to-wear deluxe items and presented at the Jakarta Muslim Fashion Week (JMFW) 2023.
EKSPLORASI MANIPULATING FABRIC RUFFLE INSPIRASI APHRODITE PISCES PADA READY TO WEAR DELUXE Patimah, Cucu; Marlianti, Mira; Djuniwarti, Djuniwarti
Style : Journal of Fashion Design Vol 4, No 1 (2024): Style : Journal Of Fashion Desain
Publisher : Institut Seni Indonesia Padangpanjang

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Abstract

Manipulating fabric is a technique in engineering textile materials to produce new textile materials which aim to beautify clothing, one of which is through the ruffle technique which can be applied to create a wrinkled effect on the fabric so that it produces a new visualization, namely making it wavy and voluminous. The work highlights the zodiac Pisces, which is symbolized by a pair of fish swimming in opposite directions. Pisces is a zodiac sign born on February 18-March 19. This zodiac sign is considered to be a person who likes adventure and has a great imagination. According to Greek mythology, these two fish are Aphrodite. Aphrodite is the symbol of the most beautiful Greek goddess who is the goddess of love and beauty. Due to the nature of Pisces, which has unlimited imagination, the creator uses a creation method consisting of exploration, experimentation and realization. The results of this work are six RTW Deluxe in the evening gown category which will be presented in the form of a fashion show at the Jogja Fashion Parade 2024 event.
Transformasi Motif Batik Bilik Garut dalam Pengembangan Tenun Tradisional Marlianti, Mira; Arafah, Naufal; Zakiyah, Zumrotu; Asyifa, Naila Ummu
ATRAT: Jurnal Seni Rupa Vol 12 No 2 (2024): KREATIVITAS DAN INOVASI SENI VISUAL DALAM KARYA DESAIN
Publisher : Jurusan Seni Rupa ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/atrat.v12i2.3800

Abstract

This study aims to analyze the transformation of the Bilik Garut batik motif in the context of traditional weaving development. Bilik Garut batik is known as one of the distinctive motifs from the Garut region, carrying significant historical and cultural value. Using a descriptive qualitative approach, this research explores the process of adapting and innovating the motif into traditional weaving products. Data were obtained through field observations, interviews with artisans, and literature reviews related to batik and traditional weaving. The findings show that the transformation of the Bilik Garut batik motif into weaving introduces a new aesthetic dimension that not only preserves local identity but also enhances the economic value of weaving products. This motif adaptation also plays an important role in preserving regional cultural heritage while creating more innovative products that appeal to both local and international markets. The study suggests the need for collaboration between designers, artisans, and local governments in promoting culturally-based products, while also strengthening the creative economy rooted in traditional heritage.
Penciptaan Cocktail Dress “The Radiant Treasure of Khatulistiwa” dengan Teknik Beading dan Draping Nursabilillah, Ikrima; Marlianti, Mira; Suharno, Suharno
Jurnal Pendidikan dan Penciptaan Seni Vol 5, No 1 (2025): Jurnal Pendidikan dan Penciptaan Seni - Mei
Publisher : Mahesa Research Center

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34007/jipsi.v5i1.751

Abstract

The background to the creation of this cocktail dress was the direct appointment of the national director of Miss Teenager Indonesia to the author to create a cocktail dress that contained Indonesia's natural wealth. This request was executed by combining Indonesian culture and natural wealth elements in one unified cocktail dress collection, The Radiant Treasure of the Equator. This mix and match is a form of novelty because, de facto, in general, cocktail dress designers have not placed elements of Indonesian culture and natural wealth as the main theme of creating cocktail dresses. Therefore, the aim of creating this work, apart from fulfilling the Miss Teenager Indonesia 2024 event, is to offer a new cocktail dress that combines elements of Indonesian culture and natural wealth. To achieve this goal, the creation method is the one diamond model adopted from the double diamond model. The results of this creation are 4 (four) cocktail dress looks which were presented at the Miss Teenager Indonesia Grand Final at the Surabaya Youth Hall building on November 1, 2024.
Kreasi Applique Payet Dan Kain Songket Motif Flora Pada Evening Gown Top 3 Miss Cultural Indonesia 2024 Maulana, Dani; Suharno, Suharno; Marlianti, Mira
Jurnal Pendidikan dan Penciptaan Seni Vol 5, No 1 (2025): Jurnal Pendidikan dan Penciptaan Seni - Mei
Publisher : Mahesa Research Center

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34007/jipsi.v5i1.787

Abstract

The creator of this work is in order to fulfill the invitation from the founder of Mister Miss Cultural Indonesia who asked the author to be the top 3 evening gown designer at the Mister Miss Cultural Indonesia 2024 event. In this work, the author places the 2024-2025 Fashion Trend Recilient Reminisence as the idea that ignites the work. This choice is based on artistic needs that are in line with the presentation of the work, namely the Miss Cultural Indonesia 2024 event which is dominated by elegant, magnificent, and luxurious navy and gold colors. Therefore, the combination of sequin appliqués and floral motif songket fabrics is an important part of this work, because in addition to presenting an impression according to the event concept, it also presents a new form of evening gown that explores navy and gold colors. For this reason, the purpose of this work is not only to fulfill but also to enrich the form of evening gowns. The method used in this work is based on Frangipani, The Secret Steps of Art Fashion from Ratna Cora. The result of this creative process is a three-look evening gown presented at the grand finale of Mister Miss Cultural Indonesia 2024 at Kuningan City Mall Jakarta.
Co-Authors Acep Iwan Saidi Achmad Haldani Destiarmand Arafah, Naufal Asyifa, Naila Ummu Dianova, Dahlia Djuniwarti, Djuniwarti Hadi Kurniawan, Hadi Maulana, Dani Midawati Midawati, Midawati Nursabilillah, Ikrima Patimah, Cucu Putri, Adestya Rahmana Suharno Suharno Ulhaq, Nazla Aisy Winarno, Ari Zakiyah, Zumrotu