26

CHAPTER 2

THEORETICAL FOUNDATION

2.1 History of Art

2.1.1 History of Paintings (Ancient to Modern)

Art in the past history according to The Story of Art (Gombrich, E.H., 1995) were not

thought as a ‘work of art’ but as objects, which had a definite function. Art is not

necessarily an activity to be seen on galleries and museums, or some kind of beautiful

luxury to be put as a precious decoration because the painters and sculptors of the past

never dreamed of it. The word ‘primitive’ that people uses means that they lived closer

to the state from which all mankind once emerged. Therefore, Gombrich explained on

his book that art does not being judge by a perception of beautiful and aesthetic but

rather how it make people feel according to every eyes’ story and feeling when they are

looking at the arts. (Gombrich, E.H., 1995)

Figure 2.1: Cave painting founded in Sumatera, Indonesia.

Source: https://news.nationalgeographic.com/

27

The first paintings found were spread around Europe (King, R. 2008), and even one in

Sumatera (Vergano, D. 2014). According to the book “Art Over 2,500 Works From

Cave to Contemporary” (2014), the first paintings were found in Southwestern France

and Northern Spain. These paintings were at first refused by the archaeologists that a

very similar representation of animal could be made by men in the Ice Age era (which

was from 15,000 – 10,000 BCE). But gradually the implements of structures and bones

were believed as a representation of bisons, horses, mammoth, and reindeers, that were

scratched and drawn by men (Gombrich, E.H., 1995). Most likely the cave painting was

drawn by charcoal or manganese, red ochre.

In the Mesopotamia era, Egypt played a part in the painting history. In the Egypt, it was

believed that preservation of human body was not enough. And that Kings are able to

live beyond their deaths according to their likeness by their people, seen from the

existing sculpture of their body and heads. If the kings were dead, it had been a custom

when his servants and slaves accompany him into the grave, so that he could arrive in

the beyond, this was commonly known as “Retainer Sacrifice”. Considered cruel, art

came to the rescue as a substitute of the real servants. Paintings about the servants are

shown in many walls and tombs. (Gombrich, E.H., 1995)

Considered influenced by Egyptian art, the Greek in 7-5 Century BC were making art on

vases. The Greek artist according to Gombrich (1995), tried to make their figures as

clear in the outline as possible. The Greek artists loved firm outlines and balanced

design. Greek then started to interpret women and men, in their drapery of such

exquisite beauty and grace into sculptures. Not forget to mention the reflections of

Hellenistic art from Pompeii, a lost Roman town, which was filled with paintings all

over the walls. (Gombrich, E.H., 1995)

28

In the fourth to first century AD, the Egyptians were not the only ones to adapt the new

methods of art to their religion needs. In India, an artist adopted the way of Romans

telling a story into a sculpture of Buddha stories. The Buddha head was also a way to

connect their spiritual beliefs with art. Not only Indians, but also Jewish who were

forbidden to made images due to fear of idolatry, but the eastern towns of Jews took

their walls to be decorated with stories from Old Testament. Dura-Europos was a

painting discovered in a small Roman garrison in Mesopotamia. This painting tell story

about Moses striking water from the rock.

Continued to the fifth to thirteenth Century, the Byzantium took part with Christianity

for the Emperor Constantine a Christian Church in the state. Paintings began to rose to

help people memorized the teachings and moments of sacred experiences, as well as to

communicate to people who don’t read at the time. Paintings were also put together of

stone and mosaics.

Figure 2.2: The Miracle of The Loaves and Fishes ancient mosaic painting

Source: https://historyofwesternartblog.wordpress.com/

29

In the early 16th Century a considered as legendary painting was born. Leonardo Da

Vinci was a painter who worked according to his own liberality, only he knew when he

would finish his paintings. As someone who was very thorough about everything and

every concept given by the era, Leonardo Da Vinci had the ambition to show that

painting was a Liberal Art. ‘The Last Supper’ was one of the most précised sacred

momentum to be told on a canvas. The portrait of a Florentine lady named Lisa, Da

Vinci’s masterpiece ‘Mona Lisa’ was considered as one of the most alive paintings in

the world.

Figure 2.3: Mona Lisa, Leonardo Da Vinci.

Source: https://www.britannica.com/topic/Mona-Lisa-painting

According to the book “Story of Art”, modern times began when Captain Columbus first

founded America in 1492. The Reformation also happened in this era where artists in

large parts of Europe gave an end to images and sculptures, that made artists look for a

new market. Artist and people then set the same common ground that lead them to be

more aware of style. Paintings of sceneries and nature were also seen more frequently

than ever before.

30

2.1.2 Street Painters

In most of the countries in the world, there are streets or roadside that is full of artists

making arts such as graffiti, paintings, or sketch. One of the most influential histories of

street painting came from Montmartre, France. Back in 1850s, when King Napoleon III

became the emperor of France, he commissioned a huge reconstruction of Paris.

Napoleon III saw the overpopulated, unhealthy city that he instructed the Prefect of

Seine, Georges-Eugène Haussmann, or commonly known as Barron Haussmann to

modernize the city between 1853 and 1870. (Sack, H. 2019) The project was also known

as Haussmann’s Renovation of Paris. Almost all the cities near the center of Paris were

reconstructed into spaces for new parks, new boulevards, and public spaces. (Marsh, J.

n.d.) The project resulting people who could not afford their own house evicted to other

parts of the city.

As people were moving from the center of Paris, Montmartre as the highest land of the

city became one of the most popular options. Montmartre was filled with enough

entertaining destination such as bars and cafes, and also has the scenery of the landscape

of Paris from a higher place. People who moved to Montmartre were mostly painters

that appreciate quietness and such scenery to gave them inspirations for painting.

(Myers, N. 2007)

The legacy of street painters then followed by new painters, which then until today,

artists were congregated in Montmartre. Currently there are 300 street painters got their

license to work and get their own space in Montmartre, and the waiting list is up to 10

years list for new artists to be able to work there. (Marsh, J. n.d.)

31

Began in the 19th century, the word ‘kitsch’ was used to criticize arts that were

considered to not abled to pass the level of ‘high art’ sensuousness by copying it with

lack of refinement. While in the 20th century, when industrial manufacturing made a

huge impact on mass production for art, the word ‘kitsch’ was again used to label the

cheap entertainment of lowbrow taste. Kitsch is not only refers to mass produced art

such as painting or drawing, but also art that is understood and preferred by the public.

Photo sketch and caricature were also one of the arts that was considered as Kitsch.

(Artsy, n.d.)

Kitsch, even though considered as mockery, was gaining its admirer in the 1950s and

60s due to the rise of Pop Art in the United States. As the consumerism rose, artists

began to generate ‘fine art’ with mass production. The arts at those era was notably gone

into ‘so bad it is good’, which affected the negativity from the word Kitsch into more

positive while people started to question the ‘high and lowbrow’ division in art. (Artsy,

n.d.)

2.2 Art in Indonesia

2.2.1 Evolution of Fine Arts in Indonesia

The evolution of fine arts in Indonesia began in the prehistoric era. The arts in this era

were the oldest and considered as historical objects. Triggered by the circle of life

amongst people in the era, the arts were not seen as “art” to please the aesthetical needs

but rather as a foundation of spiritual beliefs about certain strength and spirits exists that

are bigger than human soul (Animism and Dynamism). People in this era believed that

the bigger the arts, the bigger and more powerful the magic it holds. Therefore there

were found a large number of temples and rock statues. (Depdiknas, 1979).

32

Similar to painting history of Europe, people lived in caves or open fields. Yet rather

than to communicate to the group about dangerous animals like Europeans, people in

Indonesia tended to draw things that they thought could not be described in real form,

that consist of magic strength outside human body. In the book “Sejarah Seni Rupa

Indonesia” by Departemen Kebudayaan dan Pendidikan, or Ministry of Culture and

Education (1979), a cave painting in 1937-1938 was discovered by Roder around Irian

Jaya and Seram Island. There were found abstract drawings in the form of lines and

circles. The drawing was colored in red, which is considered as a power to protect from

danger.

At the end of prehistoric era, Indonesian was able to build rock statues like pyramids,

metal forming, farming, tools making, sculpting and perhaps Batik. In this era called

Indonesian Classic Fine Arts Era, Hindu and Buddha was a huge influent since Indian

people started to come to Indonesia. This leads to the beginning of kingdom system.

People are no longer drawing about Animism and Dynamism on cave walls, but rather

on inscription stones (lingopala) or bronzes (tamra prasasti). Their kings commanded

these inscriptions, at first in the language of Sansekerta with Pallawa alphabets from

South India. Most of the fine arts in this era were focusing on the local tribes according

to their kings, to fulfill their everyday needs. The influence of this era to the evolution of

art is keep growing until the arrival of the Islamic. (Depdiknas, 1979).

In the Islamic era, Islamic arts were also grown and focused more inside the palace.

Artist in this era was honored to be an expert in the spread of religion beliefs as well as

creating fine arts. This artist in this era is called “Empu” or Master, because the people

believed that if someone were full in terms of spirit and knowledge should also master

33

the physical forms of art. The fine arts mastered by Empus in Islamic era are Wayang,

literature, architecture, and karawitan. (Depdiknas, 1979).

The last stage of the Indonesian Fine Arts’ evolution is the Modern and Contemporary

Art, began in about one and half century ago. The purpose of fine arts in this era is no

longer to serve the religious rituals like in previous eras, but more into the filling of

human soul satisfaction in form of ideas, sensitive feelings, intuition that brought into

artistic pieces. The arts were more about cultures and personalities of each tribes in

Indonesia. In both new and old medias, modern and contemporary art began to draw

realistic events and presents, which then evolved to fulfill the feelings born by certain

events. (Depdiknas, 1979).

2.2.2 Originator of Indonesian Modern Art

The Modern and Contemporary Art was filled with painter maestros at the beginning of

the era. This era was influenced by European artists who were then visited Indonesia

through the emergence need to document. The first Indonesian modern and

contemporary painters who are also considered as the founding father of Indonesian

Modern Art are Raden Saleh and Affandi. Not only known as the originator of

Indonesian modern art, their masterpieces have flown all around Europe and world

widely. (MD, Jajak. 2004)

2.2.2.1 Raden Saleh (1807)

Raden Saleh Syarif Bustaman was born in Semarang on 1807. Raden Saleh is famously

known as the Father of Indonesian Painters, the first Indonesian who were successfully

appreciated not only by Indonesian but also European painters. In 1816, a Dutch painter,

C.G.C Reindwart was appointed to do research in Botanical Garden, Bogor by Governor

34

General Raffles. He then brought A.A.J Payen, a Belgian painter to document this

research. Reindwart and Payen together taught young Indonesian the arts of sketching

and painting, and one of the best students was Raden Saleh, who then became the best

painter of the colonial period in Indonesia. (Supangkat, J. 1997).

In 1829, Raden Saleh moved to Holland with De Lange, a Dutch financial inspector.

(MD, Jajak. (ed), 2004). There he studied portrait painting from the Dutch painters

Cornelius Kruseman and Andreas Schelfhout. 10 years after, he was appointed by Dutch

colonial authorities to go to France for further studies but he refused and finally moved

to Germany. His stay in Germany became a huge impact for his painting development to

introduce western art to Indonesian modern art when he came back. (Supangkat, J.

1997). In 1845-1851 Raden Saleh moved to Paris and settled before finally decided to

go back home to Indonesia. His paintings were phenomenally changed Indonesian art

for the first time, and made him received Piagam Anugerah Seni from The Ministry of

Education and Cultural of Indonesia, as the founding father of the art of painting in

Indonesia in 1969, 89 years after his death. (MD, Jajak. (ed), 2004). Raden Saleh’s most

phenomenal paintings among others are: “The Bull Hunt” (1851), “Fighting The Lion”

(1870), “Between Life and Death” (1848), and “The Capture of Prince Diponegoro”

(1857).

35

Figure 2.4: The Bull Hunt, Raden Saleh.

Source: https://www.thejakartapost.com

2.2.2.2 Affandi Koesoema (1907)

As also the father of Indonesian painters, Affandi was born a century after Raden Saleh.

Even though Raden Saleh brought such a huge impact on Indonesian modern art, no

significant movement or legacies really did came out for a century. Affandi, who was

born in Cirebon on 1907, became another maestro painter that his existence brought

such an impact to the history of Indonesian paintings.

Affandi had always wanted to be a painter since he was a kid. His journey to became an

international painter started from scratch. From a private painting teacher for teenagers,

house painters, milk deliverer, to door boy at the cinema at night, all were done to

settled his financial needs as he tried to be an independent painter. Affandi joined

Persagi (Persatuan Ahli Gambar Indonesia or Indonesian Painters Assosiation), SIM

(Seniman Indonesia Muda or Young Indonesian Artist), and together with his friends,

Trubus, Hendra Gunawan, and Sudarso, made a community named Pelukis Rakyat in

1947. Finally he received an invitation by Shantiniketan University in India to study

paintings, but when he arrived they decided to let him made several exhibitions around

36

India since they figured that Affandi did not need to improve his paintings at all. In

1952-1954, Affandi opened his solo exhibition in London, followed by another

exhibitions in Den Haag, Paris, Brussels, and joined the Biennale Sao Paulo exhibition.

Affandi received an Art Prize from the Indonesian Ministry of Culture and Education

(1969), International Conciliation Prize from Italian government (1979), Bintang

Mahajasa Utama from President Soeharto (1978), and Doctorate of Honors degree from

Singapore (1979).

Figure 2.5: The phenomenal poster of Affandi, Boeng Ajo Boeng 1945.

Source: https://www.kelambit.com/

2.3 Foundation of Collaboration

2.3.1 Government Policy upon Creative Workers

As a developing country, Indonesia is currently focusing on the creative economy sector.

Traditional DNA, creativity, culture and human resources are now emerging the

dynamic sectors of the global economy. Creative economy is a concept that puts

creativity and knowledge in the driver seat to move the economic wheel, a business idea

37

that turns into a product. John Hawkins stated in his book “The Creative Economy: How

People Make Money from Ideas” (2001) that creative economy is one of the promising

contribution for Gross National Product (GNP) that affects average economic growth.

The United Nations Conference on Trade and Development (UNCTAD) for Creative

Economy Outlook and Country Profiles mentioned that the international trade of

creative goods were strongly grew in the last decade, 47% on the export, and 56% on the

imports, both were in 2012 data.

This leads to a consideration by Indonesian government to step up the creative economy

sector. Understood and stated by the President, Joko Widodo, on an interview by

Detik.com (Feb 2, 2017) at Forum Rektor Indonesia, said that Indonesia has the

potential to compete internationally in the creative sector, since innovation and

technology were not significantly stood out compares to other countries. President

Jokowi also mentioned to associate the creative industry with Tourism sector with a

purpose of increasing the growth of economic sector.

As one of the act to rise up the creative economy, Mr. President Joko Widodo

established the Presidential Regulation Number 6 Year 2015 creating a non-ministerial

institution for creative economy, named Badan Ekonomi Kreatif or BEKRAF.

Vision: Indonesia as one of the world’s pioneer on creative economy by 2030.

Mission: 1. Uniting every creative assets and potential to achieve an independent

creative economy.

2. Creating a conducive climate for the development of creative

industries.

3. Encouraging new innovations in creative fields to be able to compete in

38

the international world.

4. Giving insight and appreciation for all aspects and player in the creative

economy.

5. Building awareness and appreciation of intellectual property rights,

including legal protection against copyright.

6. Design and implement specific strategies to place Indonesia as a

contributor of the world's creative economy.

Other than striving a stellar creative economic growth, BEKRAF also managed to

protect creative workers through ascurances. Most of the creative workers are usually

not equipped with ascurance, therefore BEKRAF together with Badan Penyelenggara

Jaminan Sosial (BPJS) are providing ascurance for unexpected issues. On October 14th

2016, supervisor of BPJS Poempida Hidayatullah stated the new policy on a talkshow;

“Melindungi Pekerja Seni dan Memajukan Ekonomi Kreatif”, followed by the MOU

signing upon the policy. (Irawan, D. 2016)

Design, music, innovation, paints, books, and other creative works are the attention of

the effort towards creative economy. As a sector that relies on human resource such as

ideas, inspiration, hard works, and products, it is fragile when it comes to plagiarism.

The government’s act to prevent cases of plagiarism is in the Law No. 28 Year 2014

about Copyrights. According to the Law, copyright is the creator's exclusive rights that

arise automatically based on the declarative principle after a work is realized in real

form without reducing restrictions in accordance with the provisions of the legislation.

Copyright is an exclusive right consist of moral and economic rights, where the moral

rights guarantees a lifetime right for author to either put author’s name on their work or

39

not, or to change the title of the work, and to defend their work upon distortion,

modification, plagiarism, or something that harms their goodwill. While economic rights

means that the author has the right to receive value and benefit economically upon their

work. The copyrights law is valid for a lifetime added by 70 years after the author’s

death. (National Law No.28 Year 2014)

However, there are still some obscurities between government and creative workers that

resulted in unclear law and persisted demand. Persatuan Artis Film Indonesia (PARFI),

chaired by Marcella Zalianty, is currently persisting a demand on government’s policy

for movie actress and actors who are struggling on their old days when their names are

no longer favorable in the movie industry. An assurance and warranty is what PARFI is

currently striving for. (Irawan, D. 2016)

2.3.2 Sociopreneur

Sociopreneur is a term from “social” and “entrepreneur”. Entrepreneurs are the people

who are believed to have an exceptional ability to open new opportunities with a

commitment and drive to shift economic resource to a higher productivity and impact.

Sociopreneur is similar as entrepreneur with the difference lies at the value proposition.

Entrepreneur is designed to serve market with financial profit as the goal. While

sociopreneur is not literally anticipates financial profit only, but rather aims for value in

the form of large-scale that includes social or society at large. Entrepreneur is targeting

the market and demand and ways to satisfy public that are also bringing money to the

company, while sociopreneur targets an undeserved, neglected or highly disadvantage

population to give the benefit back to social. (Martin, RL & Osberg, S. 2007)

40

In order to get a better understanding, an example of a sociopreneur might help clearing

the idea. A director, actor and producer, Robert Redford took another direction in his

career. In 1980s he saw an opportunity of the growing industry of broadcasting and the

technology that supports it. Redford then thought of the chance to nurture independent

filmmakers. He thought to provide young filmmakers with space and support to develop

new ideas through Sundance Film Festival. The value proposition of Sundance Film

Festival is to emerge the independent filmmakers that were not recognized by

Hollywood’s big players in the industry. (Martin, RL & Osberg, S. 2007)

According to a research by Forbes (2016), there are five reasons why social

entrepreneurship is the new business model. The first one is because several social

entrepreneurs believe that it connects them with their life purpose. Sociopreneur tend to

see their brand by the ability to authentically serve the world to a higher purpose and not

just a gimmick of marketing tool. Second is that it keeps them motivated. Ido Leffler

from “Yes To” beauty brand said that he wanted to make a real and lasting impact on

people’s lives, like for every products sold, the company donates school supplies to

those in need and it made him feel motivated to keep giving. Third reason is it brings

them a lasting happiness. And lasting happiness comes from a social impact work, it

made them responsible to work hard to build the business so that they can contribute

more. Fourth reason is they believed that what they do can help others discover their life

purpose. From customer, co-workers, and people that got helped by the company.

Last but not least, the reason for sociopreneur to do what they do is that because it is

what today’s consumers want. More people are more interested in buying products that

have a greater purpose with stories of do-gooders. Customers are aware enough to

41

choose products that are good for surroundings. Businesses are built in the area of

ecological issues and sustainability. (Fox, M. 2016)

2.4 Marketing and Promotion

To understand and operate effectively within fashion business, an understanding of

marketing theory and strategy is essential to business owners. Like any other industry,

fashion marketing correlates with the influence of style-media, social media, and the

consumer behavior that builds demand pattern. The fashion marketing includes

promotion and communications to target customers that requires strategic and tactical

marketing decisions. Not only to decide which promotion strategy will be used, but also

how the products will be sold, where, and when they should be sold. (Jackson, T &

Shaw, D., 2009)

2.4.1 Fashion Branding

The term ‘brand’ is to indicate a company or product that gives particular identity and

values to its customers, also to differentiate a company or product from its competitors.

While ‘branding’ is the aspects and efforts to maintain the brand. A statement by Alison

Sachs, the managing editor of Swarovski is quoted in the ‘Mastering Fashion Marketing’

book (Jackson, T & Shaw, D., 2009), that says “Branding remains the vital marketing

tool to differentiate and attract consumers at all levels in global markets”. Therefore, to

set a certain goal brand position in the industry, a fashion branding is the way to achieve

it. Fashion branding or branding is essential to every business to set their name and

position in the sector of what they are building. To make a branding, some companies

utilize packaging, media advertising and incentives to gain customers, while others

could use the help of public relation to achieve the goal of brand positioning. (Jackson,

T & Shaw, D., 2009).

42

According to the book ‘Mastering Fashion Marketing’ (2009), there are seven methods

or key techniques of expressing a brand:

1. Colour. A signature color of a brand helps to brand identification between any

other brand and competitors. The Tiffany & Co.’s signature color is one of the

most outstanding colors that only refers to the brand only, the color even called

the ‘Tiffany Blue’. The branding of Tiffany & Co. uses the house or brand colour

as one of their key branding.

2. Shape. For a fashion brand, a repeated or signature silhouette is also a key

branding strategy. The bottle shape of Chanel No.5 belongs to Chanel No.5 only

since it became the characteristic of the perfume.

3. Logo. A logo is an expression of a company’s brand name and personality.

From logo, it refers to a symbolic value for a brand. Logo can be an initial,

shape, or both.

4. The name. A name of a brand is a way to identify the most. A fashion brand

name can be a word or initials, such as DKNY, M&S, and FCUK. A name is also

commonly used for an aged brand to rebrand itself, for example Céline has

changed into Celine when the creative director decided to change the personality

of the brand.

Other than the key techniques of the branding, there are other ways for the branding to

gain more exposure and identification from customers. The main opportunities for

branding to be physically applied are in:

43

1. The product. Whether it’s inside or outside the product or garment, a label can

be attached as a branding that carries the information about brand/product.

According to the book, a logo that is attached on the outer part of the product is

often highly recognized and favorite by certain cultures and customers.

2. Packaging. Some brands are commonly give the customers a carried bag or

wrapping paper when the item has been sold. The packaging is also the medium

to physically put the branding.

3. Printed communications. Whether if the brand/company has store or physical

booth, a flyer, banner, brochures, letter heads, handbills, price tickets, and visual

merchandising printed communications are also part of physical branding.

4. Transport. If the brand has its own vehicles, an advertisement or brand logo

can be put on it. But if they don’t have any vehicle, public transportation

advertisements are also possible to put the branding information (e.g. taxi, trains,

etc.)

5. Other advertising and publicity. Visual advertising communications and media

such as interactive software can also be options.

6. Personal. Meaning a branding can be physically applied in a person, a uniform

is also the essential part in having a store.

7. Sound. Sound to put on stores’ music or advertisement jingles is part of

experiential marketing.

8. Retail outlets. Physical or online stores is actually the main applicable

branding for a brand, be it from the visual merchandising in stores, websites, or

catalogue can influence the customer to information of the brand.

All the efforts of branding are only leads to the benefit of the branding itself. A visual

cue to communicate the aim and message of the brand to the customer, that leads to the

44

customer’s buying behavior and knowledge to differentiate it from competitor are the

benefit for company by doing a branding. It will also make the company easier if they

want to make a brand extension in the future. While for customers, the benefit of

branding is to reduce indecisive and complex thoughts of purchase decision, also to

deliver consistency and reliability in what the product has to offer, also to provide status

and image from the brand that they wear or use.

2.4.2 Fashion Advertising

In order for a brand to gain customers, they need to engage with the customer through

communications. According to the book Mastering Fashion Marketing (2009), the

single-line method of communication has less impact than the actual interaction between

brand and customers. Advertising used to be considered as the most impactful marketing

tool to communicate with mass-market consumers. Aside from branding, advertising is

also influencing the customer’s buying behavior. Therefore, for fashion brands to be

able to engage with customers especially Generation Z and millennial can be done

through technology and social media.

2.4.2.1 Campaign

According to the book by The Advertising Book Concept by Pete Barry, a campaign is a

series of ads that consist of a concept or idea that has more than one execution. A

campaign need a consistent strategy and idea, and most importantly the executions

should involve the viewer to become ‘family’, in terms of language and art direction. A

proposition is needed to make the campaign clear. It is important to communicate with

one benefit only, to clear the path and be focus on the goal of the campaign. A target

audience will influence the decision whether they can accept the message or not. While

45

the message can be in a form of a sound or voice, words, visuals, pictures, and even

short movie. (Barry, P. 2012).

One of the strongest campaigns according to Ogilvy On Advertising In The Digital Age

(2017), Dove has reached 50,000 views almost immediately. Featuring women in many

shapes and skin colors, with the flaws that turned to be the message of the campaign,

that their strength are found in their flaws. The campaigns that repeatedly made annually

by Dove made a huge impact, earned 14 billion global impressions since 2013 to 2016,

and coverage by medias that valued over $90 million by Huffington Post, Today, and

many more. (Young, M. 2017) The participation expectation was unexpectedly higher

than the goal, which resulted in 74%. (Drewniany, B. L. & Jewler, A. J. 2014)

The key to make a successful campaign, according to the book Creative Strategy in

Advertising, is to follow certain principles. The principles includes to see the market as a

whole person rather than just a specification of demographic, meaning that brands

should bring up the psychographic issues such as feelings, attitudes, personality and

lifestyle. Stereotypes are not tolerable even the positive ones, in order to generalize the

market as the one typical human being. Next is to make an act that touches the social

ties, including donations perhaps, or supports a community. However the commitment

should be real rather than just an advertisement. (Drewniany, B. L. & Jewler, A. J. 2014)

46

2.4.2.2 Social Media

Figure 2.6: Global Online Media Usage will surpass TV in 2018 from IAB.

Source: https://www.iab.com/

According to the Interactive Advertising Bureau 2017 Annual report on global online

media usage, social media is taking the most attention of the young audience. It is

essential for brands nowadays to have a social media or website account to engage more

with customers (Jackson, T & Shaw, D., 2009). Through Internet, some brands are also

able to achieve global brand awareness within a short period of time. The use of Internet

by a lot of people world widely is giving more contribution to the brand awareness

rather than traditional advertisement strategy as in prints or physical store.

E-commerce is one of the big players in the business, online. With a huge number of e-

commerce spreads over the world, new rising brand gets easier to sell their products.

Social media application are Instagram, Facebook, Twitter, Snapchat. Pinterest.

According to Ogilvy On Advertising (2017), within the year of 2017 to 2019, media ad

47

is forecasted to reach $36 billion spending, or same as the total of 16% of digital ad

spending worldwide. Growing from $226.7 billion in the previous years to $283 billion

in 2017 – 2019.

2.5 WGSN Fashion Trend 2020/2021

One of the core design process is the trend forecasting to know market’s demand in the

near future. The WGSN is a trend forecaster company based in West London by Julian

and Marc Worth. From WGSN, the author will use some upcoming trends for

Spring/Summer 2020 to shape the project into the future’s eyes.

Figure 2.7: Color Trend S/S20, Designing Emotion.

Source: WGSN

For the colors, the author will use the color scheme for S/S 20 from ‘Designing

Emotion’. The Designing Emotion forecast is focusing on the relation that goes even

deeper between human. The forecast has a colorful palette that consists of Confident

Lilac and Sophisticated Yellow. (WGSN, 2018).

48

Figure 2.8: Color Trend S/S20 Designing Emotion

Source: WGSN

Other than Deisgning Emotion, the color chosen was also considering the Buyer’s

Briefing Newness for the key colors of S/S 2020, according to instock data, social

49

media, and buying intel from WGSN. The colors are Bold Red, Neo Mint, and Fashion

Blues that will be appeared in the parts of the print.

Figure 2.9: Color Trend S/S20 Buyer’s Briefing Newness

Source: WGSN

50

Figure 2.10: Color Trend S/S20 Buyer’s Briefing Newness

Source: WGSN

As an crucial part of designing, the author took Silhouette and details inspiration to

shape the collection. From the Design Development, WGSN spreads the upcoming key

details trend taken from glimpse of compilation of catwalks, trade shows and street

shots. The design silhouette is influenced by the design development trend from

Spring/Summer 2020. (WGSN, 2018).

51

Figure 2.11: Design Development S/S20

Source: WGSN

The design development trends that the author took are the reformation of classic basic

items, which are Relaxed Shirt and Retro Mini. The detail of development will be the

inspiration for the collection.