The Golden Muse, the latest fashion collection from local label Sebastian Red, is an opulent one that reveals the industry’s incredible vulnerability to change and western trends.

Designers Sebastian Gunawan and Cristina Panarese take inspiration from the work of Gustav Klimt, the 19th century Austrian artist/symbolist painter known for his highly ornate paintings, which use gold leaf and Byzantine ornamentation, and erotic depictions of women — particularly those of Viennese high society. It is only right that the collection is presented at the Cascade Lounge of the Mulia Hotel for high tea.

Extravagance and sensuality are very evident. There is plenty of gold, lace, taffeta and jacquard — often all used on the same dress. Exquisite draping is met with plenty of detailing, like intricate embroidery, glimmering palettes and mosaic-like beading. The silhouettes, too, are reminiscent of Klimt’s regal subjects.

The chest, in particular, is explored in great detail. On a printed bustier dress, its Mandarin collar and neckline area are heavily beaded with crystals; a couple of off-shoulder illusion dresses use sheer, unadorned black tulle to balance its heavy brocade material. Lace is also frequently used as chest panels.

“Our customers love these,” said Sebastian Red business director Viriya Unggul with pride.

“Even some of the older ones are requesting an even lower neckline,”

Despite the European influences, the 18-year-old brand brings everything one would expect for a collection specifically tailored for the Chinese New Year.

The collection is on the sales floor for less than three months, thus commerce is imperative. Obvious classics, including the embellished mandarin collar, fitted cheongsams and the color red are staples of the collection.

“Those are things you just can’t erase. There are some things that simply must stay,” Viriya said.

Even this year’s shio, the dog, is included as a neoclassical print.

The short sales period has become the norm for designers in Indonesia, where they do not follow the typical seasonal fashion calendar.

Instead, they tend to produce according to local festive periods, including Idul Fitri, Christmas and Chinese New Year, with other drops in between.

“By the time we’ve presented the trunk show, around 40 percent of the collection is already sold to our loyal clients, who have seen a preview earlier,” Viriya said.

This brevity and conflicting schedules exacerbates the pressures that designers already face in balancing creativity with sales.

Clothes are made with less longevity in mind, and as a result, consumers are forced to buy again and again.

The clothes do not feel fresh either, being produced at least a year in advance in order to keep up with production timelines.

It does not help that the designs become irrelevant to trends, still much dictated by western fashion markets.

“You think you know your customers, but you don’t because the changes are so quick,” Viriya said.

With commerce becoming the ultimate make-or-break, the drive to push boundaries and create critically strong work diminishes.

Uniqueness is something apparent in the collection — newness is not.

All 26 looks are styled with feathered hairpieces, fishnet stockings and sky-high T-strap heels. Given that Sebastian Red (which serves as Sebastian Gunawan’s second line) targets women aged 30, it is hard to imagine this style being embraced by an increasingly younger fashion market.

Although Unggul recognizes that “Women are becoming more dynamic, moving quickly from one place to the next,” the clothes presented do not address this.

One would have hoped to see a pair of pants that can be worn beyond the festive period, and a cheongsam, typically seen as an occasion-only dress, styled in a more current way to combat such a perception.

While concept and self-expression is important for the designer, at the end of the day, women as the clients still have practicality in mind while being fashion-forward.

— Photos by JP/Allysha Nila

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