Thursday, October 05, 2006

Trend Fashion 2007



trend fashion 2007 nanti grayngray akan menggelar fashion show akbar bersama alumni el-moda jakarta. fashion yang kami angkat pada rancangan kali ini adalah "NEUTRALIE FUR MANN". Jadi, kesimpulannya bahwa penampilan yang ekslusif untuk seorang pria nantinya adalah yang lebih bersifat natural, dan lebih simple. Pada pagelaran yang akan di laksanakan pada tgl. 31 Desember 2006 di atrium Ambarukmo Plasa ini menghadirkan perancang-perancang dari grayngray butik( Dian Triwibowo, Anthony eijsk, Bayu chandra, phill jones, stephen v. daubsty) serta beberapa fashion do. ternama di indonesia.

HALLO MEIN FREUNDE/IN

*trabs.....trabs......trabs*
***Balios reinschleicht ***
....ooooO...................
...(......).........Ooooo...
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.....\._.)..........)..../..
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*********hallo sagt*********
*****danke für deinen *****
********besuch sagt********
***nette grüße hier lässt***
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..... /....(.........(....\....
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.....ooooO........(......)..
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**Gray wieder rausschleicht***
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Monday, August 07, 2006

1500s Renaissance Gown


A French gown from the Renaissance period, around 1500; dress sort of pasted together from descriptions and pictures in Katherine Lester’s “Historic Costume.” This one came about because there are, as far as I know from reading site logs, about three sites that link to me that are maintained by people I don’t know in person. So I get excited when I see my site linked to, and I asked the linkers if they had any requests.
My knowlege of Ren faires extends as far as one of the last issues of Sandman; Hob Gadling, the man who decided hundreds of years ago to simply never die and has thus lived through history, thinks them stupid on account of the lack of giant rotting tumors and other historical nasties, while Death personified thinks them fun and dandy. But what I mean to say is that I’ve never been to one and don’t really know if a person would wear this to one. However, if I had this dress, I would probably wear it to the grocery store. This dress just US$900.

Monday, March 13, 2006

Men's trends

Who will you be next season? Fashion editor Janice Breen Burns takes a tour of your fashion options.
One of the more grati fying aspects of those twice-yearly menswear shows in Milan and Paris, is the way many of their trends fizzle as fast as their catwalk lights.
Average blokes are notoriously sensible in the face of dropped- crutch bloomers and cut- lunch stovepipes with patchworked leather winklepickers. Thank God.
Only the broadest brushstrokes of a few influential designers per colate down to shop racks and this enables mens wear, generally, to mod ernise itself at a slothful pace.
It can take several seasons for lapels to widen or narrow, or the button count on a suit jacket to alter by one, or for cuffs to thicken in the French manner or thin to a single, or for prints to fade from graphic to floral to graphic-floral on casual shirts, or for trou sers to loosen, shrink, loosen . . .
In the most recent series of autumn/winter collections shown in Paris and Milan, how ever, and being delivered to northern hemispheric shops as we speak, a handful of designers adopted a new tack that could conceivably speed up the evolution of men's fashion and acceptance of change at street level.

Instead of eye- popping, off-the-wall, ground-breaking new aesthetic proposals, they tapped into the known realm of costume.
Tom Ford's final collections for Gucci and Yves Saint Laurent channelled languid lounge-lizard Hugh Hefner at his 1960s peak, icy-cool spy James Bond, and a dashing Valentino-esque hero.
Ralph Lauren scanned his history books for a classic concert pianist and a rough-diamond lumberjack, and other designers drew carica tures of nerds and dandies, beatniks and pirates.
The ploy may not propel menswear forward to the speed of change of womenwear, but if it nudges one bloke out of his beige chinos and circa 1995 sports jacket and into riding boots, jodphurs, cravat and a whip, well, it's done its job. (I'm joking.)

Monday, February 20, 2006

Ashanae Wedding

Banyak sekali busana pengantin eropa yang menggunakan bordir dan kain tile. Oleh karena itu, kami grayngray butik mempersebahkan rancangan terbaru kami dengan tetap bernuansa gothic namun tetap romantis. "Ashanae Wedding" adalah judul yang tepat untuk design kali ini karena pada kesempatan ini, design ini sangatlah berbeda dengan design-design sebelumnya. Karena busana ini menggunakan bahan sutra untuk kamisol, untuk rok berbahan satin dan brokrat. untuk kain tile hanya digunakan pada blus atasan saja.
Harga dari baju ini sekitar $ 450 plus bonus (kalung dan make-up).

Friday, February 03, 2006

Break Dance, Gaya Hidup Sesaat

Dunia remaja penuh dengan dunia yang berbau sensasi dan ingin tampil beda. Bahkan ketika seorang remaja berperilaku di luar kebiasaan malah dianggap tampil keren. Ada yang suka musik keras, balapan motor, menindik lidah dan lain-lain.
Untuk sekarang ini sedang ngetrend break dance yang biasa dimainkan anak muda di kota-kota besar di negeri ini. Tak lupa pula budak-budak Pontianak pun ikut kena sindrom tarian unik ini.
Semisal salah seorang siswa SMK di Pontianak yang biasa dipanggil kawan satu gengnya, Eko, sangat berminat dengan tarian ini secara kebetulan. Sebab awalnya tak suka namun setelah diketahui tarian break dance bisa digunakan untuk memikat pujaan hatinya, terpaksalah ia geluti.
Ada yang aneh pada pakaian yang dikenakannya, memakai celana jeans lebar dihiasi slayer ikat kepala yang diikatkan pada siku kaki. Kemudian dipadu padankan kaos ketat yang sebenarnya layak dikenakan adiknya. Ditambah kalung rantai yang melingkari lehernya dan ikat kepala macam pendekar.
“Pertama kali saya kenal tarian break dance pada salah satu acara di stasiun televisi tentang Ekspresi Gaya Pelajar (EGP). Awalnya saya anggap itu tarian orang gila karena sekedar jungkir balik tak beraturan,” tutur siswa SMK di Pontianak, Eko, seraya menghisap rokok yang dibelinya secara ketengan.
Kemudian lanjut beliau, tarian break dance sering ditampilkan di beberapa sinetron remaja. Membuat kawan-kawan sekelasnya jadi berminat untuk mengembangkan di perkumpulannya.
“Zaman milenium ini lain men, kalau tak pandai-pandai menghadapinya bisa-bisa dianggap kuno. Kalau sudah dianggap kuno wah deritanya ketika kita berusaha bergaul tak diindahkan orang lain. Orang alim saja sekarang sudah pandai gaya, jadi jangan sok menilai tanpa mengerti latar belakangnyalah,” ujarnya menggurui.
Sedangkan kawan Eko, Tinus, ketika ditanya gaya anak muda yang gemar dengan tarian break dance, sekedar menganggap fenomena tersebut gaya hidup sesaat saja. Dia pun mengakui kurang berminat dengan tarian break dance selain tidak punya waktu, juga lebih senang menikmati alunan musik sendu mendayu-mendayu.
“Saya ikut berhimpun disini bukannya senang dengan break dance sekedar menghargai kesenangan kawan jak. Nanti kalau sudah lulus SMU pun pastinya dia punya kegemaran lain. Makanya aku lebih senang dengarkan musik yang mengalun syahdu tidak mengentak-hentak seperti ini, soalnya sampai saya tua pun kegemaran ini bisa saya lakukan terus” terang Tinus, siswa SMU di dekat kebun binatang Pontianak.
Kemudian ditempat terpisah, psikolog lulusan Universitas Islam Sultan Agung (Unisula) Semarang, Nur Cholis S.Pi, mengungkapkan kalau gaya hidup break dance wujud dari eksepresi masa pubertas remaja. Sebab di Indonesia dianggap perilaku mewah didukung media tv nasional, padahal di Amerika break dance perilaku orang pinggiran.
“Masa-masa pubertas remaja emosi untuk mencoba sesuatu sangat besar. Kondisi ini tak terlepas keinginan sekedar merasakan saja, sedangkan masalah akibat sebatas penyesalan yang harus dipikirkan di belakang kemudian,” jelas psikolog, Nur Cholis Jum’at kemarin, di sela-sela kunjungannya ke Pontianak untuk mengadakan penelitian tentang emosi kelompok orang berkampanye di beberapa daerah di Indonesia.
Menurutnya, perkembangan break dance bermula dari sisi lain penyaluran emosi anak muda di Amerika. Jika di kalangan remaja Amerika menjadi perilaku remaja pinggiran yang tidak bisa menikmati hiburan kota.
“Sebab untuk memasuki ke arena hiburan dengan dunia glamournya dirasa terlalu mahal. Maka pelarianya ke tarian break dance sekedar membutuhkan musik hip-hop dengan hentakan nyaring,”
Dituturkannya, sebelum tarian break dance masuk ke Indonesia sebelumnya di rea 80-an ada tari kejang ditenarkan film yang dibintangi artis Meriam Berlina. Gaya tarian break dance ke Indonesia setelah adanya pengaruh dari film-film dan video klip penyanyi Amerika. Ditambah tokoh pahlawan dalam dunia video game.
“Saya secara pribadi mengakui kalau di Amerika musik break dance identik dengan pemuda pinggiran yang tak mampu menjangkau hiburan kota, karena tak ada duit. Namun setelah masuk ke Indonesia malah menjadi trend anak-anak muda yang banyak duit,” imbuhnya. (mahmudi).

Sunday, January 29, 2006

punk style for men 2006


Street chic is no longer just punk/hip hop inspired clothing. No folks, we’re talking close couture, great fabrics, top of the line designs and a flare that’s unspoken but very noticeable. With brand names like Ezekiel leading the way offering ground breaking designs there is no question that the street wear/urban wave is going somewhere.

Saturday, December 31, 2005

Prom Dress Beaded Illusion Evening Pageant


"Glamourous evening prom dress with hot, heavily beaded halter bodice made up entirely of bugle beads, seed beads, and sequins placed strategically, with nude illusion stretch meshing. High front slit shows off the legs. Layered chiffon skirt with top chiffon layer in very pale yellow, inner chiffon layer in pale blue. As seen on Miss USA pageant. Medium train for dramatic exit. Center back zipper. Made of 100% polyester; dry clean only. From Faviana Designs."

Bridal Dress Silk Cascade White Chiffon Drape Front


Dress/prom dress in delicate silk chiffon overlay with shirred empire waist falling togentle a-line skirt. Beautiful cascade drape front looks incredible blowing in the wind at a destination beach or garden wedding. Silk chiffon with scattered crystal bugle beads. Hidden zip up back, finished with matching back cascade drape. Comes with matching beaded chiffon wrap. Now available in off-white (as pictured) and baby-pink. Destination weddings. Wedding dresses, prom dresses, evening gowns, wedding dresses.

Tuesday, December 27, 2005

The Queen of Scots Wedding Dress


The Mary, Queen of Scots wedding dress is a gorgeous design which flatters the body and provides a regal setting for your wedding day. Queen Mary was quite fond of the color white, and wore it often. In her honor, we are pleased to offer you the style of dress that was popular during her reign. The long, fitted white brocade bodice laces in the back, and features delicate trim along the neckline and waist, with a pearl cluster in the center. The bodice is fully lined, interlined, and boned for support. The full sleeves taper into slim, lace trimmed wrists.
The separate white satin skirt features a drawstring waist with a brocade forepart, and is full enough to accommodate very large hoopskirts.
We suggest ordering your dress a minimum of 3 months prior to your event. Please contact us to place you order!
Prices begin at $450.00
Anthony Eijks.

Renaissance Wedding Dresses & Faire gowns


Sudah banyak rancangan-rancangan yang dikeluarkan oleh grayngray butik. Saya (Dian Triwibowo) sebagai salah satu fashion designer di grayngray butik ini menampilkan satu rancangan yang esotic di tahun 2006. Kali ini saya menggunakan tema " Renaissance Wedding Dresses & Faire gowns " rancangan kali ini berbahan dasar : beautiful chiffon lace bodice featuring triple laces up the front in gold satin ribbon , with a huge chiffon skirt .long lace and chiffon sleeves.

Dibutik kami rancangan yang satu ini dijual hanya sebesar $449.00plus sizes 1x-4x - $499.00 sudah termasuk sepatu, anting, kalung dan asesoris lain. Saya juga menyediakan dua warna yang menarik : Ivory, White.

Sunday, October 30, 2005

Essential Zip-Front Leather Jacket


Price: $ 499

Color: Black
Material: 100% Burnished
Lambskin Leather (supple, ultrasoft leather, with a tight grain and polished finish).

Description:
Clean and simple. The basic zippered leather jacket with a perfect fit. Modernized in a mildly dressy, sleek lambskin leather. Regular shirt collar. Relaxed shoulder with double-seam inset detail. Lean fit through body. One-way zipper. Hip Length, hip look (27"). Hidden on-seam pockets. Interior pocket. Leather jacket is fully lined.

this is not our product, but this product can you buy in the our boutique. because this product made in NYC. by the way, this is just info. our boutique not just sale wedding equipment but now, many product have in here.

Princess Empire


dewasa ini, dikota-kota besar di Indonesia banyak sekali tema-tema pernikahan cenderung ke masalah mistis. salah satu contohnya saat pernikahan dedy corbuser, ia mengenakan bridal dress dengan tema gothic. oleh karena itu Grayngray butik mengeluarkan rancanagan terbarunya dengan "Princess Empire" dengan perancangnya adalah Rinantyo S. ia adalah kakak dari Dian triwibowo. mereka berdua sangat klop jika merancang busana pengantin bertemakan gothic. namun mereka berdua juga kurang ada rasanya jika tidak diimbangi dengan rancangan dari Anthon Eijsbroek.description product : Fitted bodice, semi fitted a line bottom. Center of bodice panel can be in contrasting fabric. Trim around neck, arm holes and empire waist. Shown here in raw silk, quilted center panel in bodice.

All Sizes: $329.00

fashion Designer
Rinantyo S.

Elegant 100% Silk Gown


This gown is amazing! It is made from the finest bridal silk direct from the orient. The bodice is fully lined and boned and laces up the back for the perfect fit. It has a keyhole neck line that is edged in piping. It is adorned with an elegant rope trim accented with silver and pearl buttons. The skirt is full and closes at the center back. It is also decorated with rope trim and buttons.
This gown was designed and constructed for a bridal show and has never been worn. It was made for a size 6 woman but can be altered to fit up to a size 10. It is fit for any elegant bride on her special day. It is truly one of a kind!

Cost of gown: $800.00

fashion designer
ANTHONY EIJKSBROEK.

Tuesday, October 25, 2005

silver semakin digemari semua kalangan


Perak, siapa yang tidak tahu apa itu perak. perak adalah sebuah logam yang berwarna putih mengkilat yang biasa digunakan untuk berbagai jenis kerajianan. disini kami tidak membahas macam-macam kerajinan perak namun disini mengkaji sebuah fenomena penyuka perak yang ada di Yogyakarta. dewasa ini, perak mulai disukai oleh semua kalangan. Terutama para tamu dari mancanegara yang datang ke Yogyakarta. dahulu seorang pria menggunakan kalung (perhiasan) dianggap sebagai pria urakan dll. namun zaman sudah berkembang, tidak lagi hanya seorang perempuan saja yang menggunakan perhiasan. jika kita telusuri lebih dalam lagi, sejak zaman nenek moyang kita ternyata seoarang pria sudah mengenakan perhiasan mulai dari anting, kalung, cincin atau perhiasan lainnya. Design perhiasan dari perak tsb. juga bermacam-macam. memang pada waktu kita kecil dulu design perak sebagian besar hanyalah monoton namun jika kita lihat pada saat sekarang ini, perak memiliki berbagai design. contohnya : liontin berbentuk bulu (feather), kunci (key) atau berbentuk bulat dengan hiasan permata yang indah.

Monday, October 24, 2005

Culture of Jogja 2005



Didalam pagelaran ini, grayngray entertainment memberikan suguhan dance dengan mengenakan busana dari rancangan Usye Prabowo, Alumnus Yogyakarta Design School. Ia merancang Tie Die (Jumputan). Corak ini sangat pas jika dibawakan dengan menari. Culture of Jogja diselenggarakan pada bulan juli 2005 di LPK Adana Yogyakarta.

Sunday, October 23, 2005

Brown Bridal Show 2005


Ini adalah pagelaran tebesar yang diselenggarakan oleh grayngray boutique. Didalam pagelaran tersebut Dian Triwibowo selaku perancang mencampurkan antara kesan gothic dengan nuansa penuh romantic. Pagelaran ini diadakan pada bulan September 2005 di hotel Grand Hyatt Yogyakarta. Dengan didukung oleh model-model dari Netherlands Modeling School (belanda), make-up dan rambut dari Lolita Houze-Singapore, sepatu rancangan Yongki Komaladi-Jakarta.

kesan yang didapat dari rancangannya, adalah kesan glamour tetapi tetap gothic dan romantic karena pada busana pengantin ini tidak hanya bertaburkan payet, namun bahan dasar yang digunakan adalah dari silk china mix benang sutra dan bordir.

Anthon Wedding Show 2005


Ini adalah salah satu foto dari fashion show yang digelar oleh teman saya yang bernama Anthony beberapa waktu yang lalu di grand hyatt jakarta. Anthon berasal dari Belanda namun bertempat tinggal di Thailand.

Dalam pagelarannya tersebut Dia mengambil tema " The Sexy of Western" bahan dasar yang digunakan adalah silk india dipadupadan dengan motif brokat dengan didukung sentuhan payet-payet sehingga terkesan lebih glamour.

Batik, Traditional Fabric of Indonesia


It would be impossible to visit or live in Indonesia and not be exposed to one of the country's most highly developed art forms, batik. On your first visit to a batik store or factory you will undoubtedly experience an overwhelming stimulation of the senses - due to the many colors, patterns and the actual smell of batik. Only through repeated visits and a bit of study will the types of designs and their origins become apparent. The word batik is thought to be derived from the word 'ambatik' which translated means 'a cloth with little dots'. The suffix 'tik' means little dot, drop, point or to make dots. Batik may also originate from the Javanese word 'tritik' which describes a resist process for dying where the patterns are reserved on the textiles by tying and sewing areas prior to dying, similar to tie dye techniques. Another Javanese phase for the mystical experience of making batik is “mbatik manah” which means “drawing a batik design on the heart”.

A Brief History

Although experts disagree as to the precise origins of batik, samples of dye resistance patterns on cloth can be traced back 1,500 years ago to Egypt and the Middle East. Samples have also been found in Turkey, India, China, Japan and West Africa from past centuries. Although in these countries people were using the technique of dye resisting decoration, within the textile realm, none have developed batik to its present day art form as the highly developed intricate batik found on the island of Java in Indonesia. Although there is mention of 'fabrics highly decorated' in Dutch transcripts from the 17th century, most scholars believe that the intricate Javanese batik designs would only have been possible after the importation of finely woven imported cloth, which was first imported to Indonesia from India around the 1800s and afterwards from Europe beginning in 1815. Textile patterns can be seen on stone statues that are carved on the walls of ancient Javanese temples such as Prambanan (AD 800), however there is no conclusive evidence that the cloth is batik. It could possibly be a pattern that was produced with weaving techniques and not dying. What is clear is that in the 19th century batik became highly developed and was well ingrained in Javanese cultural life.
Some experts feel that batik was originally reserved as an art form for Javanese royalty. Certainly it's royal nature was clear as certain patterns were reserved to be worn only by royalty from the Sultan's palace. Princesses and noble women may have provided the inspiration for the highly refined design sense evident in traditional patterns. It is highly unlikely though that they would be involved in any more than the first wax application. Most likely, the messy work of dyeing and subsequent waxings was left to court artisans who would work under their supervision.

Javanese royalty were known to be great patrons of the arts and provided the support necessary to develop many art forms, such as silver ornamentation, wayang kulit (leather puppets) and gamelan orchestras. In some cases the art forms overlap. The Javanese dalang (puppeteer) not only was responsible for the wayang puppets but was also an important source of batik patterns. Wayang puppets are usually made of goat skin, which is then perforated and painted to create the illusion of clothing on the puppet. Used puppets were often sold to eager ladies who used the puppets as guides for their batik patterns. They would blow charcoal through the holes that define the patterns of clothing on the puppets, in order to copy the intricate designs onto the cloth.
Other scholars disagree that batik was only reserved as an art form for royalty, as they also feel its use was prevalent with the rakyat, the people. It was regarded an important part of a young ladies accomplishment that she be capable of handling a canting (the pen-like instrument used to apply wax to the cloth) with a reasonable amount of skill, certainly as important as cookery and other housewifery arts to Central Javanese women.


Selection and Preparation of the Cloth

Natural materials such as cotton or silk are used for the cloth, so that it can absorb the wax that is applied in the dye resisting process. The fabrics must be of a high thread count (densely woven). It is important that cloth of high quality have this high thread count so that the intricate design qualities of batik can be maintained.
The cloth that is used for batik is washed and boiled in water many times prior to the application of wax so that all traces of starches, lime, chalk and other sizing materials are removed. Prior to the implementation of modern day techniques, the cloth would have been pounded with a wooden mallet or ironed to make it smooth and supple so it could best receive the wax design. With the finer machine-made cotton available today, the pounding or ironing processes can be omitted. Normally men did this step in the batik process.
Strict industry standards differentiate the different qualities of the cloth used today, which include Primissima (the best) and Prima. The cloth quality is often written on the edge of the design. A lesser quality cloth which is often used in Blaco.


Design Tools

Although the art form of batik is very intricate, the tools that are used are still very simple. The canting, believed to be a purely Javanese invention, is a small thin wall spouted copper container (sometimes called a wax pen) that is connected to a short bamboo handle. Normally it is approximately 11 cm. in length. The copper container is filled with melted wax and the artisan then uses the canting to draw the design on the cloth.
Canting have different sizes of spouts (numbered to correspond to the size) to achieve varied design effects. The spout can vary from 1 mm in diameter for very fine detailed work to wider spouts used to fill in large design areas. Dots and parallel lines may be drawn with canting that have up to 9 spouts. Sometimes a wad of cotton is fastened over the mouth of the canting or attached to a stick that acts as a brush to fill in very large areas.


Wajan

The wajan is the container that holds the melted wax. It looks like a small wok. Normally it is made of iron or earthenware. The wajan is placed on a small brick charcoal stove or a spirit burner called an 'anglo'. The wax is kept in a melted state while the artisan is applying the wax to the cloth.

Wax

Different kinds and qualities of wax are used in batik. Common waxes used for batik consist of a mixture of beeswax, used for its malleability, and paraffin, used for its friability. Resins can be added to increase adhesiveness and animal fats create greater liquidity.
The best waxes are from the Indonesian islands of Timor, Sumbawa and Sumatra; three types of petroleum-based paraffin (white, yellow and black) are used. The amounts mixed are measured in grams and vary according to the design. Wax recipes can be very closely guarded secrets. Varying colors of wax make it possible to disguise different parts of the pattern through the various dying stages. Larger areas of the pattern are filled in with wax that is cheaper quality and the higher quality wax is used on the more intricately detailed sections of the design.
The wax must be kept at the proper temperature. A wax that is too cool will clog the spout of the canting. A wax that is too hot will flow too quickly and be uncontrollable. The artisan will often blow into the spout of the canting before applying wax to the cloth in order to clear the canting of any obstructions.


Cap

Creating batik is a very time consuming craft. To meet growing demands and make the fabric more affordable to the masses, in the mid-19th century the . cap. (copper stamp - pronounced chop) was developed. This invention enabled a higher volume of batik production compared to the traditional method which entailed the tedious application of wax by hand with a canting.
Each cap is a copper block that makes up a design unit. Cap are made of 1.5 cm wide copper stripes that are bent into the shape of the design. Smaller pieces of wire are used for the dots. When complete, the pattern of copper strips is attached to the handle.
The cap must be precisely made. This is especially true if the pattern is to be stamped on both sides of the fabric. It is imperative that both sides of the cap are identical so that pattern will be consistent.
Sometimes cap are welded between two grids like pieces of copper that will make a base for the top and the bottom. The block is cut in half at the center so the pattern on each half is identical. Cap vary in size and shape depending on the pattern they are needed for. It is seldom that a cap will exceed 24 cm in diameter, as this would make the handling too difficult.
Men usually handle the application of wax using cap. A piece of cloth that involves a complicated design could require as many as ten sets of cap. The usage of cap, as opposed to canting, to apply the wax has reduced the amount of time to make a cloth.
Today, batik quality is defined by cap or tulis, the second meaning hand-drawn designs which use a canting, or kombinasi, a combination of the two techniques.


Dyes

Traditional colors for Central Javanese batik were made from natural ingredients and consisted primarily of beige, blue, brown and black.
The oldest color that was used in traditional batik making was blue. The color was made from the leaves of the Indigo plant. The leaves were mixed with molasses sugar and lime and left to stand overnight. Sometimes sap from the Tinggi tree was added to act as a fixing agent. Lighter blue was achieved by leaving the cloth in the dye bath for short periods of time. For darker colors, the cloth would be left in the dye bath for days and may have been submerged up to 8 - 10 times a day.
In traditional batik, the second color applied was a brown color called soga. The color could range from light yellow to a dark brown. The dye came from the bark of the Soga tree. Another color that was traditionally used was a dark red color called mengkuda. This dye was created from the leaves of the Morinda Citrifolia.
The final hue depended on how long the cloth was soaked in the dye bath and how often it was dipped. Skilled artisans can create many variations of these traditional colors. Aside from blue, green would be achieved by mixing blue with yellow; purple was obtained by mixing blue and red. The soga brown color mixed with indigo would produce a dark blue-black color.


Design Process

The outline of the pattern is blocked out onto the cloth, traditionally with charcoal or graphite. Traditional batik designs utilize patterns handed down over the generations. It is very seldom that an artisan is so skilled that he can work from memory and would not need to draw an outline of the pattern before applying the wax. Often designs are traced from stencils or patterns called pola. Another method of tracing a pattern onto a cloth is by laying the cloth on a glass table that is illuminated from below which casts a shadow of the pattern onto the cloth. The shadow is then traced with a pencil. In large batik factories today, men usually are in charge of drawing the patterns onto the cloth.

Waxing

Once the design is drawn out onto the cloth it is then ready to be waxed. Wax is applied to the cloth over the areas of the design that the artisan wishes to remain the original color of the cloth. Normally this is white or cream.
Female workers sit on a low stool or on a mat to apply the wax with a canting. The fabric that they are working on is draped over light bamboo frames called gawangan to allow the freshly applied wax to cool and harden. The wax is heated in the wajan until it is of the desired consistency. The artisan then dips her canting into the wax to fill the bowl of the canting.
Artisans use the wax to retrace the pencil outline on the fabric. A small drop cloth is kept on the woman. s lap to protect her from hot dripping wax. The stem of the canting is held with the right hand in a horizontal position to prevent any accidental spillage, which greatly reduces the value of the final cloth. The left hand is placed behind the fabric for support. The spout does not touch the fabric, but it held just above the area the artisan is working on. To ensure the pattern is well defined, batik is waxed on both sides. True tulis batik is reversible, as the pattern should be identical on both sides.
The most experienced artisans normally do first waxings. Filling in of large areas may be entrusted to less experienced artisans. Mistakes are very difficult to correct. If wax is accidentally spilt on the cloth, the artisan will try to remove the unwanted wax by sponging it with hot water. Then a heated iron rod with a curved end is used to try and lift off the remaining wax. Spilled wax can never be completely removed so it is imperative that the artisans are very careful.
If the cap method is utilized, this procedure is normally done by men. The cap are dipped into melted wax. Just under the surface of the melted wax is a folded cloth approximately 30 centimeters square. When this cloth is saturated with wax it acts like a stamp pad. The cap is pressed into the fabric until the design side of the cap is coated with wax. The saturated cap is then stamped onto the fabric, leaving the design of the cap. This process is repeated until the entire cloth is covered. Often cap and canting methods are combined on the same piece of cloth.
Better quality batik may be waxed utilizing canting in one part of Indonesia and then sent to another part of Indonesia where the cap part of the process is completed. On better quality cap fabric great care is taken to match the pattern exactly. Lower grade batik is characterized by overlapping lines or lightened colored lines indicating the cap was not applied correctly.


Dyeing
After the initial wax has been applied, the fabric is ready for the first dye bath. Traditionally dying was done in earthenware tubs. Today most batik factories use large concrete vats. Above the vats are ropes with pulleys that the fabric is draped over after it has been dipped into the dye bath.
The waxed fabric is immersed in the dye bath of the first color. The amount of time it is left in the bath determines the hue of the color; darker colors require longer periods or numerous immersions. The fabric is then put into a cold water bath to harden the wax.
When the desired color has been achieved and the fabric has dried, wax is reapplied over the areas that the artisan wishes to maintain the first dye color or another color at a later stage in the dying process.
When an area that has been covered with wax previously needs to be exposed so that it can be dyed, the applied wax is scraped away with a small knife. The area is then sponged with hot water and resized with rice starch before it is re-immersed in the subsequent dye bath.
If a marble effect is desired, the wax is intentionally cracked before being placed in the dye bath. The dye seeps into the tiny cracks that create the fine lines that are characteristic of batik. Traditionally, cracks were a sign of inferior cloth especially on indigo color batik. On brown batik, however, the marble effect was accepted.
The number of colors in batik represents how many times it was immersed in the dye bath and how many times wax had to be applied and removed. A multicolored batik represents a lot more work that a single or two-color piece. Numerous dye processes are usually reflected in the price of the cloth. Nowadays, chemical dyes have pretty much replaced traditional dyes, so colors are endless and much more liberally used.


Special Treatments

Prada or Gold Cloth

For special occasions, batik was formerly decorated with gold lead or gold dust. This cloth is known as Prada cloth. Gold leaf was used in the Jogjakarta and Surakarta area. The Central Javanese used gold dust to decorate their Prada cloth. It was applied to the fabric using a handmade glue consisting of egg white or linseed oil and yellow earth. The gold would remain on the cloth even after it had been washed. The gold could follow the design of the cloth or could take on its own design. Older batiks could be given a new look by applying gold to them. Gold decorated cloth is still made today; however, gold paint has replaced gold dust and leaf. Although there are thousands of different batik designs, particular designs have traditionally been associated with traditional festivals and specific religious ceremonies. Previously, it was thought that certain cloth had mystical powers to ward off ill fortune, while other pieces could bring good luck.
Certain batik designs are reserved for brides and bridegrooms as well as their families. Other designs are reserved for the Sultan and his family or their attendants. A person's rank could be determined by the pattern of the batik he/she wore. In general, there are two categories of batik design: geometric motifs (which tend to be the earlier designs) and free form designs, which are based on stylized patterns of natural forms or imitations of a woven texture. Nitik is the most famous design illustrating this effect.
Certain areas are known for a predominance of certain designs. Central Javanese designs are influenced by traditional patterns and colors. Batik from the north coast of Java, near Pekalongan and Cirebon, have been greatly influenced by Chinese culture and effect brighter colors and more intricate flower and cloud designs. High fashion designs drawn on silk are very popular with wealthy Indonesians. These exceptionally high-quality pieces can take months to create and costs hundreds of dollars.
Washing Batik

Harsh chemical detergents, dryers and drying of fabrics in the sun may fade the colors in batik. Traditionally dyed batiks should be washed in soap for sensitive fabrics, such as Woolite, Silky or Halus. Fine batik in Indonesia is washed with the lerak fruit which can be purchased at most traditional markets. A bottled version of this detergent is also available at batik stores. Be sure to line dry batik in a shady area and not in direct sunlight.