THE 66TH ANNIVERSARY OF INDONESIA, DIRGAHAYU!!

Celebrating the independence day of Indonesia, I present the design moodboard inspired by Indonesian heritage, batik and ikat.  And there will be no Indonesia Independence party without, Indonesian traditional food. So there is also Klappertaart, a cake made of coconut, combined with rhum & raisins, almond and cheese. 

For interior design, feel free to contact me at 021-34177578. 

pictures courtesy of mwalewangko

To order Klappertaart, delivery, feel free to contact 021-34177578

MOODBOARD: BATIK INSPIRATION FROM RUNWAY to YOUR HOME

Batik never die. I got my inspiration from a respected Indonesian fashion designer who committed to Batik exploration, Edward Hutabarat for his collection Part One. Edward who also known as Edo have successfully rejuvenated batik into young, fresh and vibrant feel. Then I get inspiration from Dreamesh and Katherine Rally batik collection to decorate home.
courtesy of mydeco batik 1 and mydeco batik 2

KAWUNG, MOTIF BATIK LOKAL MENUJU GLOBAL

Batik memang telah diakui UNESCO sebagai salah satu kekayaan budaya dunia yang berasal dari Indonesia. Namun motif batuk kawung adalah motif batik yang dapat dengan mudah mengglobal mengingat pola geometrisnya yang universal hingga dapat dengan mudah diterima oleh segala bangsa. Apa yang membuat saya memilih motif batik kawung ini adalah sebagai desain yang paling Indonesia karena pola kawung ini memiliki filosofi yang mendalam.

Motif batik Kawung

Motif kawung berasal dari penampang buah aren, biasa dikenal dengan nama kolang kaling, berbentuk oval yang dalam bahasa Jawa disebut kawung. Penampang oval tersebut ditata secara diagonal berjajar terpusat serta simetris hingga membentuk ilusi  optik seakan bunga yang memiliki empat kelopak. Aren yang manis, pohonnya yang  tegak lurus tak bercabang memberikan nilai keagungan, keadilan dan kebijaksaan pada  motif kawung. Bunga empat kelopak menyimbolkan bunga teratai yang menambahkan  nilai kesucian pada kawung. Perpaduan antara bentuk bunga dan buah membawa arti  harapan dan kesuburan. Keempat arah dari kelopak bunga juga merefleksikan empat  arah mata angin yang akan membawa cahaya kebijaksanaan.

Tak heran jika motif batik kawung menjadi begitu popular dengan begitu tinggi makna yang terkandung di dalamnya. Hanya di Indonesia motif yang sebenarnya universal itu mampu memiliki arti yang demikian mendalam.

Sementara teknik batik di Indonesia sudah sangat berkembang hingga bukan hanya di atas sehelai kain tapi juga di atas potongan kayu. Namun kesederhanaan motif batik kawung membuat penerapannya merupakan yang paling mudah untuk diaplikasikan.

Wallpaper dan wallcover berupa panel bermotif Kawung
dalam ruang tidur rancangan Rudi Dodo 

Panel kayu bermotif Kawung rancangan desainer interior Jaya Ibrahim
untuk Hotel Darmawangsa

Berkat orang-orang kreatif Indonesia, motif Kawung dapat kita temukan pada berbagai elemen ruangan sebagai dekorasi. Kawung telah diterapkan oleh desainer interior yang nama dan karyanya telah terkenal di mancanegara, Jaya Ibrahim. Ia menciptakan panel dinding yang diukir dengan motif kawung untuk Hotel Darmawangsa di Jakarta. Arsitek Heru M. Prasetyo untuk sebuah rumah tinggal rancangannya di kawasan Serpong, memberikan aksen atraktif dengan membuat partisi di teras muka rumah yang terbuat dari besi bermotif batik kawung dan diberi pengecatan rona putih. Sementara desainer interior Rudi Dodo merancang kamar tidur yang diberikan sentuhan kertas pelapis dinding maupun penutup dinding berupa panel kayu bermotif kawung di Pondok Gede.

Desainer perabot yang karyanya telah dipertunjukkan dalam berbagai pameran desain di mancanegara, Alvin Tjitrowirjo, juga telah mengaplikasikan motif kawung pada meja maupun rak berbahan besi dengan teknik laser cut yang diberi pengerjaan akhir berwarna putih.

Meja berbahan besi dengan teknik laser cut tercipta motif Kawung,
rancangan desainer perabot Alvin Tjitrowirjo

Studio 181, sebuah studio keramik di Bandung, menghasilkan produk keramik dinding bermotif Kawung.

Keramik dinding bermotif Kawung produksi Studio 181

Sementara produsen perlengkapan makan keramik terbesar di Indonesia, Kedaung, juga menggunakan Kawung sebagai ornamen hias untuk salah satu koleksi mereka. Bukan hanya Kedaung, namun produsen kain pelapis sofa dan kertas pelapis dinding asal Amerika, Quadrille, juga telah membawa motif Kawung mendunia lewat produk mereka hingga dipajang di berbagai majalah dekorasi di Amerika.

Wallpaper Quadrille bermotif Kawung
dalam majalah Coastal Living Oktober 2009

Kain pelapis sofa Quadrille bermotif Kawung
dalam majalah Elle Decor

Tulisan ini dibuat dalam rangka keikutsertaan Kompetisi Blog Telkomsel Paling Indonesia di Kompasiana.

CANDY COLOR BATIK FOR YOUR DECORATION

courtesy of dreamesh.blogspot.com

Amesh Budiristio created cushion cover and other home accesories with batik in candy color. Her collection is so vibrant and inspiring. Her background as a feature editor in a teen magz really reflected on her line. Check her collection on www.dreamesh.blogspot.com

DESIGN INSPIRATION: BATIK AS ELEMENTS OF DECORATION

courtesy of Vibizlife

courtesy of Danar Hadi

courtesy of Vibizlife

courtesy of Stylebeat

courtesy of Quadrille

As I said earlier in my previous post, I was ashamed as an Indonesian I had lack in writing about batik on my blog. Whereas in reality there are a lot of products with batik touch whether in technique or pattern that could be use as element of decoration. So as a start I hope this article can satisfy.

Firstly batik was known as a long piece of fabric that used to cover body. It’s like clothe or sarong, for Javanesse. But then batik progress as element of decoration. In the seventies interior designers started using batik fabric for wall hanging, cushion cover, curtain, upholstery sofa and so on. Karl Springer, a Germany born furniture designer, applied batik fabric to wrap his table collection and lacquered them.

In the seventies in Java, batik employers tried to applied batik technique on solid wood like pule, pinus and albasia. And therefore emerged various kind of craft made with batik technique like batik mask or storage box. Because of the difficulty of the batik technique on solid wood, the product came in relatively small dimension.

While Iwan Tirta together with Kedaung, a well known Indonesia ceramic tableware company, on the early millennium released his creation, applying batik motif with China influence on ceramic. His collection named as ‘The Phoenix and Peony Flowers”. Iwan Tirta’s effort had not stopped yet. He explored batik patterns on ceramic combined with gold platted for high end users. His high end collection named as Pusaka Maha Karya. He applied Modang, batik pattern that used and known only for Javanesse aristocrate only. And the collection was expanded into silverware too. His last creation is for Vivere under the series named Vivere Cultural Delight Collection that have launched recently. I bet his collections will be sky rocketing after his death.

Otherwhile, Obin, an Indonesian fabric designer, through label Deya under her Bin House created a series of tableware with batik inspiration made of glass. She used etsa technique to apply batik pattern on glass.

It’s not only Indonesian people who develop batik onto various things. Katherine Rally together with her hubby, who live in Bali, has developed her batik designs on fabric. Her collection are so colorful and vibrant.

Quadrille, a fabric, wallpaper and carpet label, also has numerous products with batik pattern under the series named China Seas. They successfully transform batik into modern style, universal taste and easy to combine product as shown on several editorials of well known decoration magazines.

IN MEMORIAM IWAN TIRTA

courtesy of kabarinews

Batik pattern for Ronald Reagan courtesy of alexabimanyu

Bill Gates wearing batik courtesy of detiknews

First Lady of Indonesia doing batik with Iwan Tirta courtesy of PresidenRI

I don’t know why last July I had several revelations about batik since I read Stylebeat and Joe Ruggiero articles of batik for interior. I was ashamed considering that I am Indonesian but I had lack stories about batik. Reading their articles, I was inspired to write about batik for interior too. And last July was closed by the fact that Indonesia’s batik maestro, Iwan Tirta, had passed way on July 31. This is really a loss for Indonesia and batik.
Honoring Iwan Tirta’s dedication for batik, I would like to re-post his biography, with some new additions of his works by me.

Nursjirwan Tirtaamidjaja, also known as Iwan Tirta, is one of the Indonesia's most celebrated batik artists and designers. His collections are well-known and so are his boutiques, extravagant fashion shows, and fabric designs. Iwan Tirta is often credited with introducing Indonesia batik to the rest of the world.

Iwan Tirta studied at the London School of Economics and Yale Law School. His love for batik blossomed when he won a research grant from The John D. Rockerfeller III Fund. Iwan Tirta embarked on a research project into the sacred dances of the Susuhunan of Surakarta Royal Court. There, surrounded by the life of Central Java Courts, he nurtured his newfound interest in Javanese fabric. His interest was stimulated by his mother's batik collection, which included some of Indonesia's best batiks.

He soon recognized the importance to document and preserve the arts and crafts of batik. He undertook the responsibility to record the evolution of batik and spent weeks in the museums, towns and villages collecting samples and tracing the art's origin and development.

The second stage of his "batik consciousness" culminated in 1966 when he completed a book called ‘Batik Pattern and Motifs’, detailing the historical and sociological aspects of batik.

Iwan Tirta has successfully taken Batik to a new level. Elements of design were reconstructed, revived, and brought up-to-date, thus keeping batik's existence in Indonesia as well as in the world. Together with Chossy Latu, he changed batik from a long piece of fabric into a beautiful gown. He and Chossy Latu successfully combined the traditional element of batik and the practical and modern value of western ready to wear.

His sumptuous and contemporized yet traditional design have appeared in the pages of international magazine such as Voque, Harper's Bazaar, Architecture's Digest, New York Times, Asia Weeks, National Geographic and others.

In the 70s, he preceded the applied of batik for interior when he succeeded to convince numerous five stars hotel in Jakarta and Bali to use batik when PATA conference held.

His loyal admirers are ranging from every level of the society, including the aristocracy and royalty. He has staged exhibitions and fashion shows for Indonesia's first ladies and for the Indonesian government, showcasing his collections for visiting heads of state and royal members such as Queen Elizabeth II, Queen Sophie of Spain, Queen Juliana of Netherland and Bill Clinton.

He has also presented special and custom-designed Iwan Tirta batik for each heads of state that came for the Asia Pacific Economic Conference held in Jakarta in 1994.

courtesy of tutinonka

Batik is one of several "court arts", along with shadow play of wayang purwa, court dances, gamelan or authentic Javanese percussion orchestra, and poetry. The art is an extension of the philosophy based on the spiritual discipline. Control, etiquette, and harmony are of central importance to the Javanese. Any conflicts in design or style are to be avoided.

Batik incorporates a few elements of meditation. Breathing and total concentration are of necessity to draw fine, even lines with canting. Batik drawing requires calm and peaceful psychological state; observing it also induces a meditative state of mind. Controlled breathing is essential in painting batik. Like court dancers and gamelan perfomers, batik painter must clear one's mind through fasting or abstinence.

The ego must be contained to achieve a perfect harmony between the mind and the batik technique or design. A superior batik is synonymous with harmony.

The design vocabulary for batik is derived from various aesthetic orientations and often inspired by rituals. The upper-classes participated in the rituals and undoubtedly contributed in defining the batik designs. Geometric patterns prevalent at the court were motifs like the ceplok, the kawung, the nitik and the lereng or garis miring.

Thirty years since his first book, Iwan Tirta, released his second book, ‘Batik A Play of Light and Shade’ on 1996. This book tells the history of Indonesia’s batik in social and cultural relation in an stageact alike in wayang performance. Last year he launched his third book, ‘Batik, Sebuah Lakon’. It’s an Indonesian version of ‘Batik A Play of Light and Shade’ with more personal informations of batik added.

Fabric is not the only media that Iwan Tirta creativity had been applied. His depth sense of batik made him found no difficulties in translation batik patterns and motifs into fine pieces dining set and silver-made jewelry and handycraft.

courtesy of Vibizlife

article courtesy of IwanTirtaBatik

Selamat jalan Pak Iwan, karya-karyamu akan tetap abadi.

Presents from Adiwastra Nusantara 2010

Kalau tak salah ingat sejak tahun 2001 saya selalu menyempatkan diri untuk mengunjungi pameran kain dari Wastaprema. Waktu itu seingat saya diadakan di Museum Gajah dan diadakan bersamaan dengan pameran tata saji nusantara. Sejak pertama kali menjejakkan kaki dan memandang koleksi kain Nusantara yang terpajang begitu juga dengan rancangan tata saji, saya langsung jatuh cinta. Rasanya begitu menakjubkan melihat begitu beragamnya kekayaan kain adati Nusantara. Sesuatu yang sangat membanggakan mengingat teknik pengerjaan dan motif yang ada juga sangat beragam.

Kali ini pameran kain adati diadakan dengan nama Adiwastra Nusantara. Aroma melati semerbak menyapa seketika saat kaki ini menjejak di lobby tempat dipamerkannya kain-kain bangsawan Nusantara. Kain-kain ini memiliki motif dengan nilai filosofis sendiri, dengan berbagai macam teknik pengerjaan, kain-kain ini di waktu lampau hanya boleh dikenakan oleh raja dan kaum bangsawan. Mulai dari batik, songket, tapis, tenun, hingga ulos dan ikat, semuanya memancarkan keindahan yang konseptual.

Menikmati keindahan kain tua seperti ini memang memerlukan intelektualitas dan imajinasi. Bayangkan betapa rumitnya pembuatan sehelai kain dengan motif yang memiliki makna pemikiran mendalam. Dibuatnya bukan dengan teknologi modern. Tapi dengan tangan, dengan hati dan jiwa. Itulah sebabnya meski ada beberapa kain yang sudah seringkali dipamerkan tetapi setiap kali saya menyaksikan kembali rasanya ada kerinduan yang terobati. Kerinduan dan kelegaan ternyata kain yang menjadi favorit saya masih ada. Jujur seandainya memiliki dana saya rasanya ingin memiliki kain-kain batik dari jaman penjajahan. Karena jaman penjajahan memiliki pengaruh yang begitu kuat dalam menghasilkan motif yang memiliki relevansi dengan situasi dan kondisi saat itu. Saat itu kain batik seakan menjadi cerminan sejarah yang sedang dialami bangsa. Berbeda dengan kondisi saat ini yang cenderung menjadi produk industri massal.

Pada ajang kali ini selain dipamerkan kain-kain kuno, juga terdapat pameran dagang dari produsen kain dari berbagai propinsi di Nusantara. Dengan begitu beragam pencapaian yang dihasilkan bisa dipastikan kain-kain Nusantara telah diangkat menjadi produk fashion yang mampu bersaing dengan produk fashion mancanegara karena karakternya yang kuat dengan identitas etnis dipadukan dengan rancangan yang siap pakai yang lebih relevan dan modern.

Ada juga kain-kain yang dipajang dengan tema Gendongan. Kain yang dalam budaya Nusantara sering digunakan untuk menggendong anak, barang, dicoba untuk diangkat nilai fungsional, budaya dan sejarahnya. Karena terkait dengan menggendong, turut juga dipamerkan tas-tas asli rancangan Nusantara yang digunakan masyarakat untuk membawa madu, sirih dan lain sebagainya. Menarik bukan?

If I were not wrong, since 2001 I had always visited Indonesian classic fabrics exhibiton held by Wastaprema. Wastaprema is an organization of Indonesian classic fabrics collector. The first exhibition I visited was held in Museum Gajah, in front of Monumen National. There were not only old classic Indonesian fabrics displayed but also an exhibition of Nusantara's style of table setting.

On the first step, I suddenly fell in love with Nusantara's rich tradition. It's so amazing to see that so many designs, techniques, patterns, materials used to make a piece of fabric. I was blown away.

This year the exhibition held under new name Adiwastra Nusantara. The mistical aroma of jasmine will welcome you. And the Nusantara royalty collections will blow your eyes and mind. The various kind of fabrics from batik to tenun, tapis to songket, and songket to ikat were displayed amazingly beautiful. They all were radiating conceptual beauty with all those philosophical values on their designs.

I was amazed how these people could make these fabrics using old and traditional techniques. It was so complicated considered that all those made by hand. When these people made those fabrics they put their soul, mind and heart on it. That's why they are so special. It always sadden me knowing that deep appreciations always come from foreigners.

My desire was having batik from the collonialism era. The themes are reflecting the nation's history. It's so personalized. It was not like today's batik print which so industrial and common.

There were also trade exhibition of many labels from all over Nusantara. With so many accomplisment of all those labels, they take the Nusantara classic fabric to the next level, fashionable product, combining tradition with international taste and ready to wear aspect.

There were also displayed fabric under the theme 'Gendongan' which reflected the historical, social and cultural values of the fabrics. And relevant to the theme, there were also displayed classical and authentic design of bags from several tribes in Nusantara. Interesting right?

HOW TO WEAR BATIK, LOCAL TOUCH GLOBAL LOOK

New interpretation of Batik by Dries Van Noten.

courtesy of fashionesedaily