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Digital catwalk: Itang Yunasz launches double-sided scarf

Josa Lukman

The Jakarta Post

Jakarta  /  Fri, March 27, 2020  /  02:47 pm
Digital catwalk: Itang Yunasz launches double-sided scarf

Heritage: Itang Yunasz's collaboration line with headscarf brand Katonvie is named Selaksa Sarimbit Nusa, which highlights the Sarimbit style of batik for couples. (Courtesy of Muara Bagdja team/-)

Even as events get cancelled left and right for health and safety reasons, the COVID-19 pandemic has not held back the creative industry. 

A similar move was seen in Milan Fashion Week. After a large outbreak of the virus in northern Italy in late February, designer Giorgio Armani cancelled his Fall/Winter 2020 show and opted for a livestreamed presentation with no guests, front row or otherwise.

Likewise, Itang’s presentation was quickly digitalized. Instead of a fashion show, a video campaign was sent out to the media, along with pre-recorded interviews with the people behind the campaign.

In a brief 100-second video, two models showcase the headscarves from the line, set to a calming tune and a narration espousing lessons one would get from a mother: life, love, compassion, forgiveness and hope.

At the end of the video, the mother figure is revealed: Mother Nature.

The mini-collection, titled “Selaksa Sarimbit Nusa”, takes the form of eight patterns inspired by Indonesian textiles like batik and ikat, printed on soft viscose fabric.

A scarf patterned with white paperbark leaves is printed in a soft coral palette, contrasting with its burgundy and azure edges.

Vivid: Katonvie's scarves are created with the duplex printing method, which allows the precise placement of different patterns and colors on both sides. Vivid: Katonvie's scarves are created with the duplex printing method, which allows the precise placement of different patterns and colors on both sides. (Courtesy of Muara Bagdja team/-)

Others are lifted wholesale from traditional textiles, such as the kawung and megamendung batik along with ikat and songket woven fabrics. 

With the exception of the megamendung print’s vibrancy, all of the other patterns take on much more muted earth tones, dominated by browns, greys, and softer reds.

Itang said in a recorded statement that the collection was meant to highlight Indonesia’s rich culture of traditional textiles, each with their own messages and meanings.

Sarimbit means couple, which we translated into the scarves by having double-sided patterns but with different colors,” he said.

Digital fashion: The collection was launched online with campaign videos.Digital fashion: The collection was launched online with campaign videos. (Courtesy of Muara Bagdja team/-)

"We named Katonvie's headscarves the 'Story You Can Wear' scarves, because every scarf we produce contains the philosophy of the traditional textile we highlight," said Katonvie founder and CEO Anthony Lim.

The double-sided patterns allow more flexibility, eliminating the problem of having a “correct” and “incorrect” side of the scarf.

Itang said this process is more sustainable for the consumer, as it cuts down the need for multiple scarves.

The printing process, called duplex, is the invention of Hermawan Lim, Anthony's father.

Anthony said the printing process was invented in 2007, and has been often applied in printing batik patterns.

“As Indonesians, we wanted to create a brand that we could be proud of, while at the same time carry the message that the people of Indonesia are innovative and creative on an international level,” he said.

The decision to work with Itang, says Anthony, was because the designer had everything he looked for in a partner.

“Mas Itang has extensive experience in fashion and is an innovative designer, so naturally he is the perfect collaboration partner for Katonvie.”

Itang himself said he accepted the collaboration offer because he saw the merits of the duplex process, which he found to be very interesting.

 “The double-sided printing is very precise and able to put two different colors on either side on the exact same part. There’s also the finishing process for the edges, which we had not yet seen in Indonesia.

“We also have the same vision. We wanted to elevate traditional Indonesian patterns to the international level.” (ste)


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