Swish: Bramanta Wijaya's Tresno is the third collection in a trilogy based on themes of romance.

Designer Bramanta Wijaya envisions a happily-ever-after through three themes — faith, hope and love — in his creations.

Love is essential for any relationship to blossom and designer Bramanta Wijaya’s interpretation of it is readily apparent in his latest evening wear and bridal collection.

Entitled “Tresno” — which means “love” in the Javanese language — the collection is the final piece in his trilogy of collections that touches on the three keys to a love story for the ages, the other two being faith and hope.

While Javanese influences could be clearly seen in the 24-look collection, Bramanta also brought Oriental elements and classic European silhouettes into the mix, coalescing them into a harmonious marriage of three different cultures.

Bramanta said the Oriental elements were a nod to peranakan culture, a term for people of Chinese descent who took up residence in Southeast Asia and created their own culture through intermarriage.

However, he said he was of the view that peranakan describes any kind of intermixing between cultures, not just Chinese.

“Peranakan just means two different cultures that are united through marriage, each carrying their own customs and tradition,” said Bramanta, who himself is both peranakan and Javanese.

Visage: The collection's name is derived from the Javanese word for love.

His love letter to Javanese culture was present throughout the presentation, which began with a model holding a mask who sauntered and danced down the path to the tune of “Impen Impenan” — a dangdut song from the East Java town of Banyuwangi that had hints of Oriental melodies in the arrangement.

The presentation itself was split into three parts, with the first showcasing silhouettes appropriate for afternoon cocktails, cut out of a blue and white fabric reminiscent of Mega Mendung batik from the northern coastal areas of Java.

Bramanta said the patterns were not batik, even though they were created using similar stamping methods.

A sleeveless midi dress with a Mandarin collar was cut from blue and white floral, cinched at the waist so as to frame the center pleats that fall around the knees.

The Mandarin collar was a recurring theme in the collection, seen in a wide array of garments ranging from a cocoon-esque coat to a dress with dramatically flared sleeves that is practically designed to twirl around in.

Those not into high collars need not be afraid, as Bramanta utilized the florals in other pieces like a light, kimono-style outerwear and a sultry, asymmetric minidress complete with slits up the sides.

The second part of the show brought even more flowers into the collection, this time in the form of multicolored embroidered chrysanthemums on white linen, made into floor-sweeping evening gowns that would feel at home in a glitzy red carpet event.

A halter gown in a mermaid silhouette was seen with a Mandarin collar, while a strapless number cascades over a plissé bottom layer in delicate rose gold.

Bramanta Wijaya

An interesting combination with the fabric was present in a maxi-length top with a Mandarin collar, the bottom half of the garment cut from sheer floral lace. The top was combined with gold-tone short shorts and sheer over-the-knee boots, which might not be to everyone’s tastes.

The third and last half of the show was dominated by a more classical combination of white lace and embroidery, a staple of weddings everywhere around the world and Bramanta’s signature style.

For this last part, Bramanta himself took to the stage to sing a rendition of the late Chrisye’s “Untukku” (For Me), an ode to love that is a mainstay in every love story.

Mandarin collars once again made their way into the fold, bringing a prim-and-proper vibe of sorts in contrast with some of the more daring cuts and silhouettes.

While wedding gowns with floor-length sleeves and full skirts in various styles are always in vogue for the wedding season, Bramanta also brought in more unusual stylings, such as a floor-length dress with draped, cape-style sleeves that can also double as outerwear.

The garment in question was styled with mini shorts underneath, which almost seems to remind one of priestly robes that combine both decadence and innocence in one look.

Bramanta’s eye for theatrics was a huge plus in this regard, as he knew how to pull back in styling to let his clothes speak for themselves. The harmonious marriage of style and culture could perhaps even become a part of someone’s happily ever after, too.

Cinched: Tresno draws on three cultural references: Javanese, 'peranakan' and classical European.

— Photos courtesy of Bramanta Wijaya