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Nation as fashion in New Order Indon...

University of Minnesota.

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Nation as fashion in New Order Indonesia, 1967--1998.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Nation as fashion in New Order Indonesia, 1967--1998./
作者:	Boehlke, Heidi Lori.
面頁冊數:	150 p.
附註:	Adviser: Joanne Eicher.
Contained By:	Dissertation Abstracts International69-05A.
標題:	Design and Decorative Arts. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3313427
ISBN:	9780549630449

Nation as fashion in New Order Indonesia, 1967--1998.
Boehlke, Heidi Lori.

Nation as fashion in New Order Indonesia, 1967--1998. - 150 p.

Adviser: Joanne Eicher.

Thesis (Ph.D.)--University of Minnesota, 2008.

The designer fashions incorporating batik, ikat, and pelangi function as a medium for objectifying the nation. To describe this phenomenon whereby such fashion projected a modern Indonesian identity, I have coined the word "ethnafashion."

ISBN: 9780549630449Subjects--Topical Terms:

1020245
Design and Decorative Arts.

Nation as fashion in New Order Indonesia, 1967--1998.
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100 1 $a Boehlke, Heidi Lori. $3 1020244
245 1 0 $a Nation as fashion in New Order Indonesia, 1967--1998.
300 $a 150 p.
500 $a Adviser: Joanne Eicher.
500 $a Source: Dissertation Abstracts International, Volume: 69-05, Section: A, page: 1578.
502 $a Thesis (Ph.D.)--University of Minnesota, 2008.
520 $a The designer fashions incorporating batik, ikat, and pelangi function as a medium for objectifying the nation. To describe this phenomenon whereby such fashion projected a modern Indonesian identity, I have coined the word "ethnafashion."
520 $a The purpose of this study was to investigate contemporary Indonesian designers' expression of national identity not through national dress, but in adaptations of textile traditions in western fashions during a time of rapid economic growth. Three Indonesian designers were examined as a case study. All three worked with resist textile traditions that became their signature: Iwan Tirta with batik; Prajudi Admodirdjo with ikat, and Ghea Sukasah with pelangi (tie-dye).
520 $a The theoretical framework for this study is based on Foster's model of three groupings of practices of national culture formation. In "Making Cultures in the Global Ecumene" (1991), he identifies practices that lead to the representation of nation, allow for the classification and regulation of its citizens, and those whereby the nation is objectified. Pratices of commodification, diffusion, and consumption objectify the nation; and that "[v]irtually any commodity...can function as a medium for objectifying the nation---e.g. clothes and cloth" (Foster, 249).
520 $a Tirta, Prajudi and Ghea exemplify the Foster's practices of commodification, diffusion, and consumption whereby the nation is objectified. Tirta operates as a craftsman, designing and manufacturing the textile in his own domain, but then commodities batik by making his design modifications and marketing to the elite in haute couture. Prajudi, a tailor, incorporated hand-made ikats from various makers to produce high quality apparel suitable for business wear, and caterered to upper middle class. He is the next level up from the craftsman, relying on diffusion. Ghea reproduced the graphic quality of pelangi onto mill produced textile for ready-to-wear market; her approach allows for mass consumption of textile design in apparel.
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