Devina Nathania, Dewi Isma Aryani

Rafflesia arnoldii Motif with Kaganga Letter in Besurek Batik for Women's Ready-to-Wear Fashion Collections

Introduction

Rafflesia arnoldii motif with kaganga letter in besurek batik for women's ready-to-wear fashion collections. Discover modern women's ready-to-wear fashion inspired by Besurek Batik from Bengkulu, featuring Rafflesia arnoldii motifs and Kaganga letters. Blending tradition with contemporary design for urban appeal and cultural preservation.

Abstract

Besurek Batik from Bengkulu, which has been resurrected in the modern period after a break dating back to 1600, served as the primary inspiration for the design of the INSCRIBED ready-to-wear collection for ladies. Besurek Batik contains key components, such as the Rafflesia arnoldii flower pattern and the Kaganga letter, which is unique to Bengkulu. The two components are then modernized through a combination of fabrics, material design, color combinations, and ready-to-wear morphologies for women, allowing them to exhibit current batik in a more appealing, modern, and acceptable manner to the urban community. The design details included the use of taffeta and organza fabrics, the application of material design in the form of a combination of color dipping techniques in cold and hot water, gutta resist painting for making the motifs also being the main dye, and French knott embroidery techniques. The combination of these techniques was poured into the INSCRIBED collection, which is ready-to-wear clothing for women aged 20-35 years old with modern, feminine, smart characters, and respect for local culture who live in urban Indonesia. The INSCRIBED collection as a whole is able to produce a traditional yet modern impression that is in line with the times and has high aesthetic value, this involves exploring how the collection successfully blends traditional elements of Besurek batik with Rafflesia arnoldii flower pattern and Kaganga letters to contemporary fashion design. The goal is to show how this fusion not only preserves cultural heritage but also makes it relevant and appealing to modern urban audiences. The PBL (Project Based Learning) technique is used to achieve final results by learning through real-world projects, including information search and data synthesis, material investigation, feasibility assessment, and design interpretation.

Review

This paper presents a compelling exploration into the revitalization of Besurek Batik from Bengkulu, reimagining its traditional motifs for contemporary women's ready-to-wear fashion. The central premise, drawing inspiration from the historical resurgence of Besurek Batik after a centuries-long hiatus, is both culturally significant and highly relevant. By focusing on the distinctive Rafflesia arnoldii flower pattern and the unique Kaganga letters, the project successfully identifies core elements of Bengkulu's heritage to anchor its modern design endeavor. The stated goal of making traditional batik appealing and acceptable to an urban community underscores an important effort to bridge historical artistry with present-day lifestyle and aesthetics. The methodology employed for the "INSCRIBED" collection demonstrates a thoughtful approach to material and technique innovation. The selection of taffeta and organza fabrics, combined with sophisticated material design techniques such as color dipping (cold and hot water), gutta resist painting, and French knot embroidery, highlights a commitment to producing high-quality and aesthetically rich garments. These choices effectively translate the traditional Besurek motifs into a modern context, targeting women aged 20-35 with "modern, feminine, smart characters, and respect for local culture." The integration of a Project Based Learning (PBL) technique further indicates a structured and practical development process, involving thorough research, material investigation, and design interpretation to achieve its final collection. Overall, the project successfully articulates a vision for creating a traditional yet modern impression with high aesthetic value. The fusion of cultural heritage elements—specifically the Rafflesia arnoldii and Kaganga letters—with contemporary fashion design not only preserves these symbols but also makes them relevant and desirable to modern urban audiences. This work provides a valuable case study in how traditional crafts can be reinterpreted to maintain cultural integrity while simultaneously engaging with current fashion trends and consumer demands, thereby contributing significantly to both cultural preservation and innovative design practices within the Indonesian fashion landscape.

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