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"Industri busana mode adalah permintaan pasar yang penting untuk kebutuhan manusia yang telah berbudaya menuju kemajuan baru. Kemajuan di industri ini sebagai salah satu bagian pokok dalam industri kreatif Indonesia telah berkembang ke kemajuan yang lebih tinggi, namun hukum Indonesia terhadap industri ini dalam UU No. 31 Tahun 2000 tentang Desain Industri sebagai landasan hukum dalam Ketentuan Pemeriksaan Substantif atas Asas Kebaruan masih menimbulkan permasalahan dalam implementasinya. Tujuan utama dari penelitian ini, selain permasalahan ini belum diangkat secara detil oleh penelitian-penelitian sebelumnya, topic ini akan mempertegas pentingnya proses Pemeriksaan Substantif atas Asas Kebaruan dalam hukum Desain Industri terhadap jenis Industri ini.

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The fashion garment industry is an essential market demand for human necessity as it has cultured towards new advancements into the minds of the modern human as a form of personal self-expression, asserting itself as a requirement as well as means to selfactualization towards its buyers and customers. The progression of this industry as one of the staples in the Indonesian creative industry has cultivated to higher advancements, however the Indonesian supporting law towards this industry in Law No. 31 year 2000 Regarding Industrial Design as a legal foundation attracts criticism in its implementations. The provisions of Substantive Examination of the Novelty Principle is not a necessary administrative process unless there is opposition – due to this, industrial design rights registration towards fashion garments has exposed legal issues where garment manufacturers holding Industrial Design Rights are being alleged by the public for using designs from other designers which are arguably not inline with the Novelty Principle and/or considered as “Public Domain”. The main purpose of this research is that prior authors have not highlighted the importance of the Novelty Principle in Industrial Design law towards this type of Industry as a solution towards this issue."

"This book is the ultimate guide to who's who in the world of fashion design. Fully illustrated, it presents 125 of the key design practitioners from the beginning of the 20th century to the present day, the people and companies who have shaped the world of fashion and those who define the modern perception of style. It features established designers such as Valentino, charts the evolution of long-standing couture houses such as Chanel, and signals the success of rising stars including Christopher Kane and Rodarte."

"Learning a new discipline is similar to learning a new language; in order to master the foundation of fashion design, you must first master the basic building blocks of its language, the definitions, function, and usage. The Language of Fashion Design provides students and fashion designers with the basic elements of fashion design, divided into twenty-six easy-to-comprehend chapters. This visual reference includes an introductory, historical view of the elements, as well as an overview of how these elements can and have been used across multiple design disciplines."

"ABSTRAKBerkembangnya budaya konsumsi serta persaingan brand fesyen dalammenarik konsumen menjadikan adanya kebutuhan akan ruang yang representatifuntuk memperkenalkan produknya. Tak jarang saat ini seorang perancang busanabekerjasama dengan seorang arsitek khususnya dalam merancang sebuah eventspace, yaitu ruang yang dirancang atau direncanakan sesuai tujuan yang ingindicapai dengan menghadirkan pengalaman-pengalaman diluar kebiasaan/rutinitasyang biasa terjadi sehari-hari sehingga dianggap menjadi hal yang spesial atauistimewa. Dalam penulisan skripsi ini saya ingin menelaah lebih lanjut bagaimanasebuah event space yang dirancang oleh arsitek dapat menjadi mediapenyampaian ide karya fesyen serta menghubungkan antara perancang busanadengan konsumennya. Dengan kajian teori terkait fesyen dan arsitektur serta studikasus dua pagelaran busana kerjasama perancang busana dan arsitek, dapatdisimpulkan bahwa event space dapat menjadi media penyampaian ide karyafesyen dengan menghadirkan pengalaman ruang terkait konsep karya fesyenmelalui indra, narasi, serta persepsi yang dapat disampaikan secaraeksplisit/harafiah maupun hanya sebagai trigger awal desain event space.

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ABSTRACTThe consumerism and fashion brand competition in attracting consumerscall up the need of representative space to introduce their products. Notinfrequently, fashion designers work with architects, especially in designing anevent space, a temporal space that is designed or planned according objectives tobe achieved by presenting experiences that are different with common experiencesin everyday life, so considered to be a special case. By writing this essay I want toexamine how an event space designed by architect serves as a medium indelivering fashion ideas, connecting fashion designer with their consumers. Withstudies related to fashion and architectural theory and case studies of two fashionrunway designed by fashion designers and architects, it can be concluded thatevent space can be a medium for delivering of fashion ideas by presenting spatialexperience related to the concept of fashion through the senses, narration, andperceptions that can be delivered explicitly/literal or simply as initial trigger ofevent space design."

"Jurnal penelitian ini memberi kontribusi untuk bidang studi gender, khususnya mengenai liberal feminisme dalam menuntut kesetaraan gender antara laki-laki dan perempuan di dunia fashion seperti dalam film Coco Chanel (2009). Film tersebut memperlihatkan bagaimana Chanel berjuang melawan sistem patriarki melalui dominansi para desainer pria di Prancis sekitar tahun 1890-1919 di bawah pengaruh era Victoria (1837-1901) dan era Edwardian (1901-1910). Jurnal penelitian ini membahas isu liberal feminisme yang dapat dilihat melalui karakter utama dalam film ini, Coco Chanel (Gabriella Chanel). Perempuan ketika itu diatur tidak hanya dalam tata cara mereka berpakaian, namun juga bahan pakaian yang mereka gunakan dan bentuk dari gaun yang mereka kenakan. Film ini memperlihatkan bagaimana Chanel datang sebagai desainer wanita yang melanggar aturan dalam industri fashion karena wanita membutuhkan kebebasan untuk mengekspresikan diri dengan memakai pakaian yang ingin mereka kenakan dan bagi Chanel fashion adalah kebebasan. Menggunakan konsep liberal feminisme dari Hughes, jurnal penelitian ini berkesimpulan bahwa perjuangan Chanel di industri fashion dapat dilihat sebagai perjuangan seorang feminis liberal karena dia berhasil berjuang melawan dominansi sistem patriarki dalam industri fashion.

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This research paper gives contribution to the field of gender studies, particularly concerning to liberal feminism in demanding the equality between men and women in fashion as depicted in the movie Coco Chanel (2009). This can be seen on how she struggled against the patriarchal system through the dominant of male fashion designers in France around 1890-1919 under the influence of Victorian Era (1837-1901) and Edwardian Era (1901-1910). This paper examines the issue of liberal feminism that could be seen through the main character, Coco Chanel. Women had been ruled in the way they dressed even with the materials and the shapes of the dresses. The movie shows how Chanel came as a new female designer who broke the rules in the fashion industry because women needs freedom to express themselves by wearing what they want to wear and for Channel fashion is freedom. Using the concept of Hughes’ concept of liberal feminism, this research paper concludes that Chanel’s struggles in the fashion industry can be seen as a struggle of a liberal feminist because she successfully fought against the dominant of patriarchal system in the fashion industry."

"ABSTRAKSkripsi ini membahas mengenai penilaian kebaruan terhadap suatu desain industriyang diajukan permohonan pendaftarannya serta bagaimana penerapan prinsipkebaruan dalam praktik penyelesaian sengketa desain industri. Penelitian inimenggunakan pendekatan yuridis normatif. Penulis memperoleh kesimpulanbahwa dua pandangan tersebut yaitu apakah suatu desain industri dapat dikatakanbaru apabila memiliki perbedaan yang signifikan (significantly differ) atau hanyasedikit perbedaan dapat dikatakan sebagai suatu desain industri yang baru (slightlydiffer). Dualisme pandangan mengenai pengertian kebaruan terhadap suatu desainindustri di Indonesia dapat menjadi salah satu kerancuan dalam praktikpenyelesaian sengketa desain industri.

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ABSTRACTThis thesis discussed the regulation of the novelty assesment of an industrial dsignfor registration as well as how the application of the novelty principle in thepractice of industrial design dispute cases. Normative juridicial was the researchmethod used within this thesis. Author concluded that these two views arewhether an industrial design can be said to be new if it is significantly differ orslightly differ. These different views on the definition of the novelty can beconsidered confusingly in the practice of industrial design dispute resolution."

"Seni pertunjukan merupakan aktivitas yang melibatkan sekelompok penampil dan penonton, biasanya melibatkan desain set panggung. Salah satu bentuk pertunjukan adalah fashion show. Fashion show umumnya menggunakan scenery untuk membantu menyampaikan konsep yang diangkat oleh koleksi fesyen. Penonton menggunakan kemampuan visualnya untuk memahami koleksi dan lingkungannya, sehingga terbentuk persepsi visual. Dari sekian banyak stimulus visual yang hadir, perancang desain set perlu dapat mengarahkan fokus penonton. Oleh karena itu, skripsi ini akan membahas peran dari ruang pertunjukan dan scenery dalam mengarahkan persepsi visual terhadap koleksi fesyen pada fashion show.Metode yang digunakan adalah metode kualitatif, dengan melakukan studi literatur dan analisis studi kasus. Hal ini dilakukan untuk menelusuri peran dari stimulus visual berupa ruang pertunjukan dan scenery dalam mengarahkan persepsi visual penonton untuk memahami konsep koleksi fesyen pada fashion show. Studi literatur dilakukan untuk menelusuri bagaimana pesepsi visual memengaruhi hubungan antara scenery, koleksi fesyen, dan manusia. Studi kasus dilakukan dengan mengaji scenery yang hadir pada fashion show yang menampilkan koleksi haute couture.Berdasarkan analisis yang dilakukan, koleksi pakaian merupakan attended stimulus sedangkan scenery dan ruang pertunjukan merupakan unattended stimulus. Meski begitu, scenery dapat menjadi attended stimulus ketika karakteristik dari komposisi dan elemen penyusunnya dapat menarik perhatian penonton. Scenery dan ruang pertunjukan turut menyampaikan makna dan dapat mengarahkan perhatian penonton menuju bagian yang ingin ditekankan sehingga penonton dapat dengan lebih baik memahami konsep yang diangkat.

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Performance art is an activity that involves a group of performers and spectators, commonly involves the usage of set design. An example of performance art is fashion show. Fashion shows generally use scenery to help convey the concepts of the presented collection. The audience uses their visual ability to understand the collection and its environment, hence visual perception is formed. Of the many visual stimuli that are present, set designers need to be able to direct audiences focus. Therefore, this thesis will discuss the role of theatrical space and scenery in directing audiences visual perception towards a fashion collection in fashion shows.

The method used was qualitative method, by conducting literature studies and analysis of case studies. This was done to explore the role of visual stimulus in the form of theatrical space and scenery in directing the audiences visual perception to understand the concept of fashion in a fashion show. Literature studies were conducted to explore how visual perception affects the relationship between scenery, fashion collection, and humans in fashion shows. The case study was conducted by analyzing the scenery of a fashion show that presented a haute couture collection.

Based on the analysis conducted, the presented collection is the attended stimulus while scenery and theatrical space are unattended stimulus. Even so, scenery can also act as attended stimulus when the characteristics of the composition and its elements have the ability to attract audiences attention. Scenery and theatrical space also convey meaning and can direct audiences attention towards a specific part that needs to be emphasized so that the audience can understand the concept of the collection better."

"ABSTRAK

Tren terbaru dalam fashion tidak begitu saja diikuti para konsumennya. Di berbagai latar kehidupan sehari-hari, tren berbusana yang sedang berlangsung akhirnya ditampilkan pemakainya dalam berbagai adaptasi. Dalam street style, misalnya, para pelakunya melakukan penyesuaian-penyesuaian agar tren berbusana dapat dikenakan dalam latar kehidupan sehari-hari. Untuk melihat hal tersebut, penulis melakukan wawancara mendalam dan pengamatan terhadap empat laki-laki anggota komuniti Lookbook Jakarta. Padu-padan pakaian tertentu dipilih untuk penampilan mereka, sebab pakaian dianggap mengomunikasikan diri pemakainya kepada individu-individu lain yang mereka hadapi. Proses transformasi dan self-indication berperan penting ketika mereka berupaya menampilkan diri visual mereka lewat pakaian

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ABSTRACT

The recent trend in fashion is not so readily followed by the consumers. In sort of daily-life settings, current fashion trends are presented in various adaptations. In street style, for example, the actors adjust their dresses to conform to their situations. To describe the way people adjust trends for themselves in daily-life settings, I conduct in-depth interviews and observations of four male members of Lookbook Jakarta. They choose certain outfits for their looks because dress is considered a “visual tongue” to communicate their selves to individuals they interact with. Transformation and self-indication play significant roles in this visual-self presentation"