Menurut According to Denys Lombard in his book Java Nusa: Cross Culture (1996) Kebaya derived from the Arabic 'Kaba' which means 'clothes' and was introduced by Portuguese when they landed in Southeast Asia. The word Kebaya is defined as a type of clothing (tops / blouse) was first used during the period of Indonesian women the 15th century or 16th century AD. Lombard argument by analogy is certainly acceptable, especially linguistic search that yet until now we still know 'Abaya' which means a long tunic typical Arab. While others believe Kebaya nothing to do with women's tunic dress during kekasiran Ming China, and this influence is transmitted after a massive immigration visited the South and Southeast Asian peninsula in the 13th century to the 16th century AD.
Regardless of their origins are Arabic, or Portuguese, or Chinese, we always known that the distribution is from the north islands of Indonesia. That is, countries that passed by the expansion ala Arabic, Portuguese, and Chinese may have the blouse version of each. And finally, the deployment of Java being the most southerly destination, since no traces of it again in the western Pacific island or peninsula of northern Australia. That is again, this time, Malaysia Kebaya can freely claim as one of the heritage tradition. Certainly without saying that this type of clothing came from Malaysia-because it sounds so stupid.
In the novel quartet Gajah Mada, Sky Krishna Hariadi writes: "Sri Gitarja replied, wiping tears using his sleeve". (Gajah Mada wrestle in Crisis Thrones and insolent thing 336, 3rd paragraph, line 5). The assumption was that if the princess Sri Gitarja be wiped her tears with her sleeve means that he wear sleeves are long sleeves to-least-close wrist. Most likely is the type of women's clothing kebaya. Unfortunately, this could have been mistaken for Kebaya is still a foreign body at this time. Java community at that time to know long cloth, weaving, ikat and tank as everyday clothing. There is also the opinion that this period is limited Kebaya worn in the kingdom alone. Unfortunately, the evidence is very weak. Fabrics made from natural fibers in a tropical country like Indonesia easily destroyed simply because of the humidity, the weather, to microorganisms eater. The evidence can not be said strongly is the statues and reliefs carved on the most ancient buildings of the 13th century to 15. However, there is no real pattern or picture that indicates Kebaya at that time.
We need to consider the spread and the arrival of Islam in Indonesia (15th century) to determine the development of today's modern kebaya. Very strong Islamic influence kebaya silhouette in the early days of its development. Alleged Strong said Kebaya originally a simple shaped tunic length tops that extends from the neck to the knee (baju kurung). This reminds us of the abaya and Malay kebaya. Such clothing immediately shifts the traditional tank. In some parts of Indonesia even found a woman who appeared without any boss (Bali, Lampung, Java). Habits that kind of dress also slipped, though in some custom events have to dress like that anymore, especially in Bali. Documentation longer belongs to the royal family and palace (Surakarta, Yogyakarta, Cirebon) in Java is still recording this long kebaya with some ornaments statehood mounted on several sides (19th century). Bracelet and hours kebaya worn outside of the arm, while the brooch series (third row) embedded in the front to form a cover. This type of material eventually reaching game. Coarse cotton and woven on a traditional course into embryo. However, velvet, silk, and cotton flannel then replace harsh ingredients earlier in accordance with the entry of European colonies in Indonesia and open lines of textile trade between countries (since the 18th century).
Suitability subsequent starts from the pattern and style. Modifications, innovation, and creativity to bring fresh fashion Kebaya this period. It is like loose without bond. Putu new kebaya to short tunic tlisman game pack many colors and beautiful patterns in the beginning of the 19th century. Period of the 19th century and the movement in the early 20th century is a glorious time for the Kebaya. Kebaya is a lively subject in the people of Indonesia, as well as European and Chinese immigrants with a variety of adjustment. Before the class-explain to them, which is almost evenly Kebaya worn by Indonesian women as usual until the special creations made by the nobility and the palace. Kebaya nobles and the family palace made of silk, velvet, and ornamented thick cloth (brocade); class of ordinary wear and woven coarse cotton; European descent usually wear the kebaya made from soft cotton with lace accents (brocade) at the edges, while for women the Netherlands wearing kebaya cotton with shorter pieces. At that time, many Europeans and even the Dutch themselves buy various kebaya in the Netherlands. This period began infiltrated elements of syncretism Kebaya class. There Kebaya ornate royal palace and gold thread (gold thread embroidery) with a velvet material. Specific pieces worn by upper class women also gave former real as kebaya Kartini. Grip-grip began to take shape. Certain patterns restricted in blue bloodlines. Kebaya began dikelompokan in classes caste paradoxical.
Spread of nationalism in the 1920s. Traditional organizations formed by the government of Indonesia and the Dutch East Indies nationalism called aloud. Political conditions that also affect the fashion preferences of people. Kebaya is already considered bercitra national indigenous struggle with everything. Women of European ancestry and the Netherlands left the kebaya as their daily wear because of the traditional image of the indigenous earlier. This period minimize development Kebaya fashion. Almost no significant material innovation, especially formations and patterns silhouette. Such conditions last until the next two decades until the worst comes.
The period 1942-1945 was the worst with the most minimal notes on the state of Indonesia, including fashion. Women in the occupation of Japan fell in the lowest place in history. Without exception; native European descent, Chinese, and Dutch thrown in jail and hired out loud. Kebaya worn by Indonesian women prisoners, while the shirt and overalls worn by European and Dutch descent. This unwritten rule, however, applies in almost every Japanese detention camps. Here, Kebaya is indigenous, the other colonies. Do not think about innovation, produce tragic fall tragic fall. In fact, the Japanese occupation of Indonesia also cut textile trade routes and supporting equipment. Many production houses kebaya closed. Batik fabric companies are emerging in this period is also required to make labor-intensive solution to simply survive. The most widely adopted solution is a merger between several smaller companies that make batik, kebaya, and industrial convection home. But it does not have much impact for the development of the fashion era. Political climate changes occur every hour. World War II was a time for fashion dark country, even the world. Unless Chanel and Hugo Boss are indeed fascist lover at the time, many fashion houses in the world decline.
Again raging political factors. Great revolution of Indonesia's independence in 1945 brought on a constellation of nationalist Kebaya more absolute. Traditional than the natives, Kebaya spread into nationalist and independence breathing. The educated women are close to Sukarno's government at that time a lot of different wearing kebaya, especially new types putu encim Kebaya is still no trace of him today. Some people respond to this condition as the golden years Kebaya until the 1960's. Almost all women, whether in the office, at home, wherever appearing kebaya. Kebaya brought national image so strong, but attached to the aristocracy in favor of the Soekarno particular. India, China, and parts of Southeast Asia dominate the textile market in Indonesia. Western sentiment Sukarno Sukarno and sentiment in Western Europe commodity exchanges limit lines and Indonesia. That look is a variety of styles and colors as diverse Kebaya. Pieces and old patterns re meruak though still holds grip-grip that is created from the previous century.
Kebaya has not fully recovered from the trauma of politics, he has to undergo one more blow. The transition of power from Sukarno to hand government under Soeharto's New Order in 1965 Kebaya put in a weak position. The images and symbols are carried Kebaya in the Soekarno make it shunned. Women who are not engaged with the political turmoil of the Old Order (Soekarno) chose not to wear Kebaya. Modern canal and women shirts more popular than Kebaya. Slowly but surely, Kebaya knocked out in an exclusive box Dharmawanita (wife of civil service women's organization formed in 1974). With its orange salmon, Kebaya became the official uniform of this organization.
Until the 1980's Kebaya increasingly isolated among military wives and servants, although some sort of local designer Iwan Tirta trying to preserve it. The good news is the role of information and exchange of commodities between countries is wide open again. Just how creative hands Nations children use. It did not take long, early 90's Ghea Panggabean experiment means the Kebaya. Within the scope of the class, He used silk organdy and other natural fibers are classified into Kebaya luxury. Among the elite and educated women, Kebaya this kind, which was also developed by many other local designers, has a special predicate. He is legitimately used in formal occasions both personal, family, or nation.
The 90's anyway Kebaya began to get a bigger place. Even having seen great economic promise. Indonesian designers agree, Kebaya is typical of the genre promising fashion world. They began to glance at it, learn them, and then be creative with it. The key is innovation! It seems the demand creation and accentuation of the users is also a major factor that drives Kebaya back to the era of the 19th century-a time when the Kebaya had the freedom to flourish.
After a 32 year reign of Indonesia, Suharto departed. Reforms to bring fresh air at once wild. For some reason, it's good. Many institutions that perverted. Reform is understood as an era of freedom. Open-mindedness became the starting point all the activities in the period 1997-2002. Unstoppable creativity exemplified by the following Soeharto's leaders and political world also followed people. Confinement is illicit goods in this period. Digalilah-creations fresh new democracy from many sources to enhance Kebaya. We must look at the brocade trend (lace), embroidery, application engineering, drapery, and mixing ingredients as the forerunner Kebaya revolution in the early 2000s.
That away with lots of ideas, he wins. World weddings, formal meetings of state, to exclusive events which brought the image of Indonesia as a consensus-hidden Kebaya as code requires clothing. It is then provoke competition among designers. In the pattern, silhouette, cutting, and outline changes vary the uniform. Like a loose ball, big changes were also accompanied by the utilization of raw materials. Out of mere organza and cotton, penetrated into the lane Kebaya silk, chiffon, shantung, lace, until the fibers previously unimaginable such as jute, pineapple, banana, and metal elements. The technique of embroidery, lace, helical, pleated, quilted layerhingga join Kebaya colored splendor. Until finally the use of luxurious materials kinds of sequins, crystals, precious stones and feathers (ostrich's feathers / fur cincila) comes with a revolutionary application taknik. With this one technique, creativity without boundaries is likely done. Application engineering opportunities Kebaya as art objects could be decorated anything-even diamonds if possible. Through a lot of techniques and pieces, material and materials, to accessories, Kebaya created as works of art. There's even a Kebaya which weighs up to 22 kg, because of the complexity of detail attached to it. Kebaya entered a period of revolution itself. He is now, like many people in Indonesia era of the 2000s, had a vision and their places. Without having affected the impact of political, economic, and even customs. Kebaya sheer creativity embrace feminist ideology.
Birth of Kebaya-kebaya by Anne Avantie, Marga Alam, Adjie Notonegoro, Biyan Wanaatmadja, Sebastian Gunawan to young designers like Priyo Oktaviano, Rusly Tjohnardi, Ferry Sunarto and more is evidence that Kebaya revolution. Kebaya designers work was pierced in the midst of strong local and international repertoire stomping. Kebaya fashion performances-performances, competition, criticism and compliments very constructive impact. Actions blindfold over-blown traditional grip blow some people make kebaya work rocketed toward a completely unexpected. He is now more than just identity, Kebaya is also a commodity and the national identity of Indonesia. Kebaya Indonesia emerged through ultra feminine silhouettes. He embraced a woman's body, making it shine, and perfectly curved. Not and can not be found anywhere else, even the places believed to be the forerunner of the infecting Kebaya Indonesia. Perhaps, Kebaya will soon enter the vocabulary of English as Batik and Tie. If it were so, no one could undermine the position Kebaya in Indonesia. Kebaya achieve the highest glory of the art in this country.
From here, we must be aware, there is a threat that we must deal with seriously. If Kebaya has entered the peak period, whether fate will be like Batik that go boom peak in the 1940's, in Java? Hokokai Javanese Batik Batik is known as the most glorious in the world (Iwan Tirta) be the culmination of this fabric. Now, Batik go dormant period. Creative designers presented creations never surpassed the beauty of its predecessor. Three countries, Lasem, Java Hokokai, and coastal ranks undeniable art-while not terulangi again. The question is whether Kebaya will also meet the same fate?
Thanks to: Iwan Tirta, Anne Avantie, Joop Ave, Victoria Cattoni, Roesly Tjohnardi, Marga Alam, Ferry Sunarto, Ida Munthe, Koesbiyanthi Indrastoeti, Yuko Tanaka, Rens Heringa, Pia Alisjahbana, Ir. TT. Soerjanto, Dr. Mariah Waworuntu, Lusiana Limono, Dra. Ratna Panggabean, Community Wastraprema, Yayasan Batik Indonesia ...
Photo: Hypnosis, Model: Nayla Alatas, Kebaya: Marga Alam, Anne Avantie, Ferry Sunarto, Ida Munthe (Wangie), Fabric: Marga Alam, Anne Avantie, Ida Munthe (Wangie), Gandrasta Bangko, Accessories: Rinaldy A. Yunardi, Anne Avantie, Marga Alam, Ferry Sunarto, Location: Lara Djonggrang
