The two brands implemented a Woman Supports Woman in their show. They roped in other creative woman-driven businesses for it: the precious stone accessories were made by Passion Jewelry, the bags were made by Tiyasa (made of real Indonesian mega mendung batik cloth from Cirebon, with handles made out of lizard skin) and Rajoet (recycled plastic bags with macramé rope handles). Ayu and Sally processed the collection totally by themselves – starting from determining the primary motifs, colors, and characters, to settling how the pieces were to be arranged in the show, to how they will treat incoming guests.
Sally has introduced everything about Batik Trusmi to Ayu: its philosophy, production methods, business obstacles. They took the time and effort for the long talks necessary before finally settling on both print and hand-painted kawung (fruit from the Arenga pinnata feather palm) and mega mendung batiks for the collection. They also delved into deep discussions to decide the size of the batik motif in all the pieces, and to select which shade to use from a wide palette. Like Mother Earth herself, the collection ranges from gentle (cream, tan, ivory, baby pink, khaki) to vivid (lime green, fuchsia, yellow, eggplant purple, leaf green, bright pink, chili red, orange, sea blue) – and even stark black and white.
In this collection, Ayu’s roses are always shown together with Trusmi’s mega mendung on each piece of the bespoke material: the cotton batik, the brocades, tulles, and laces. The detailed coupling of the two motifs is apparent in both ready-to-wear and high fashion pieces, creating a unified look.
“The Basundari collection adapts local couture to the latest universal fashion developments. It mixes trend with tradition to generate new, different styles. For example, our Muslim outfits are no longer just long and straight pieces like tunics, abaya gowns, or gamis,” Ayu Dyah said. “For example, we use vivid, unique colors like fuchsia, lime green, and eggplant purple. The difference can be seen in the details in our creation, such as the 3-D rose-and-cloud patchwork patterns we put on the backs of our kebaya, or along the length of the vest that complements our long gowns.”