The show-stopper at Farah Angsana’s 2011 Spring Collection at Mercedes-Benz New York Fashion Week on Thursday was her glammed-up version of the traditional Javanese kebaya blouse as a gold-embroidered cocktail dress.
Fashion media dubbed the final creation gracing the catwalk at Lincoln Center the “It” dress. It also is the personal favorite of the 39-year-old designer, who was born in Medan, North Sumatra, but has spent most of her life abroad. She called the show, titled “Ethno Glam”, which also included Indonesian batik, ikat and woven fabric motifs, her tribute to her homeland.
“I think the kebaya has such a beautiful silhouette, but I wanted to turn it into a wearable cocktail dress so that women could wear it to any function with a part of Indonesia with them,” Farah told The Jakarta Post in an email interview Saturday, adding that it took three months to complete the dress because of the complicated design and embroidery.
The show comes at a fortuitious time with renewed attention on Indonesia through Julia Roberts’ movie Eat, Pray, Love. Farah said she hoped there would be greater international acknowledgement of Indonesia’s riches.
“Indonesia has always been a part of me, and I have always loved ethnic elements,” she said. “To explore different Indonesian cultures in my designs is the most interesting part of my work, it’s such a privilege.”
Farah, who became the first Indonesian designer to take part in Paris’ haute couture week in 2002, says she used a couture technique in this collection of mostly handmade and embroidered designs on silk.
There were cocktail dresses, flowing evening gowns and tribal-motifed blouses combined with pants.
“It’s for the woman who wants to look beautiful, sophisticated and glamorous and sexy at the same time without appearing vulgar,” she said.
As part of her tribute to Indonesia, she used colors — black-white, grey, silver, pink, blue and green — to represent the colors of the archipelago, as well as Indonesian accessories, including an ornate bridal headpiece from West Sumatra (which one reviewer described as “Ga-Ga-esque”).
A batik-motifed blouse holds special meaning for the designer.
“My grandmother left me some sarong and handkerchief before she passed away. I studied them and brought them to my graphic designer and we both worked on making it more modern and not so ethnic.
We changed the colors and did it in digital print.”
Farah said there was more positive energy during this season’s fashion week, with many US designers returning after the 2008 economic crisis. Although she said she was “amazed” by the reaction to the show, she added she was now focused on preparing her bridal show for October in New York and starting her pre-fall collection.
“In fashion, it’s not how you start but how you maintain your reputation,” said Farah, who experienced six lean years after her Paris debut. “I’ve had my ups and downs, but I think it’s now my chance to glow.”
