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1
S. H., Hengky. "Image Analysis: Textile Industry in Indonesia." World Journal of Business and Management 1, no. 1 (2015): 42. http://dx.doi.org/10.5296/wjbm.v1i1.7883.
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<p>In 2014, the Indonesian textile industry exports 36% of their woven fabric's amount USD 4.1 to the United States, 16% to the European Union and Japan, and 5% to the Association of Southeast Asian Nations (ASEAN). This research was conducted from August 2014 to April 2015 in Indonesia. The questionnaires were distributed to 350 respondents, by using a stratified sampling, purposively, and triangulation techniques. The questionnaires were distributed to an international and national distributors, textile company staffs, textile agency, textile shopkeepers, tailor, staff of the garment, and the staffs of the Trade Minister of Indonesian. The image analysis shows that the woven fabrics of Indonesia are competitive. In terms of an image analysis, this study found three gaps of the image’s expectation and performance. It is indicated that the plan of the Trade Minister of Indonesia would be done, as long as the plan is followed by increasing the production and finishing capacity of the textile industry, which were imported from several countries, such as Germany, Italy, and ASEAN country. They need the new technology of textile machine on getting a better quality and increasing the production capacity of the woven fabrics.</p>
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Afthon Kumbara. "MANAGEMENT STRATEGY SWOT ANALYSIS OF LUCKY TEXTILE GROUP IN FACING TEXTILE INDUSTRY COMPETITION." Dinasti International Journal of Management Science 1, no. 3 (2020): 430–54. http://dx.doi.org/10.31933/dijms.v1i3.377.
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Lucky Textile Group is one of the textile manufacturing companies in Indonesia. Lucky Textile Group has 2 companies, each of which has different production results but is mutually sustainable. PT. Benang Citra Indonesia and PT. Lucky Print Abadi is part of the Lucky Textile Group. PT. Yarn Citra Indonesia currently produces yarn with the main raw material, namely cotton, while PT. Lucky Print Abadi produces woven and finishing fabrics (Printing, Dying and White). The raw material for making woven fabric is yarn obtained from PT. Yarn Citra Indonesia or can also be from an outside factory according to the type of raw materials needed. Then it is processed into finishing cloth (Printing, Dyeing and White) according to the customer's request. It is known that market competition in Indonesia is increasingly flooded with imported textile products so that competition in the textile industry in Indonesia is getting tougher, where competitors from Vietnam and Bangladesh also make many Indonesian textile producers fall. The textile and textile product industry (TPT) of Indonesia is one of the strategic national manufacturing industries in the Indonesian economy, because of its contribution to 2 (two) national interests. First in the social field, through employment and opening up employment opportunities. Second in the economic sector, namely the average foreign exchange generated by the textile sector in the last 5 years reached US $ 7.92 billion with a growth rate of 8.5% and contributed the largest foreign exchange of all Indonesian export commodities. Therefore through the SWOT analysis, it is expected to be able to understand the strength of the Lucky Textile Group in facing global competition.
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Kumbara, Afthon. "THE ANALYSIS OF PORTER'S FIVE FORCES IN LUCKY TEXTILE GROUP IN FACING THE COMPETITION OF TEXTILE INDUSTRY." Dinasti International Journal of Economics, Finance & Accounting 1, no. 3 (2020): 397–412. http://dx.doi.org/10.38035/dijefa.v1i3.419.
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Lucky Textile Group is one of the textile industries in Indonesia. Lucky Textile Group has 2 subsidiaries, each of which has different processes and production results while maintaining mutual sustainability, namely PT. Benang Citra Indonesia and PT. Eternal Lucky Print. PT. Yarn Citra Indonesia is an industry that produces yarn with the main raw materials, namely cotton, rayon, capital, tencel and cotton blends, while PT. Lucky Print Abadi is an industry that produces woven and finishing fabrics (Printing, Dyeing and White). The raw material for making woven fabric is yarn obtained from PT. Yarn Citra Indonesia or can also be from an outside factory according to the appropriate type of raw material. Then processed into finishing fabrics (Printing, Dyeing and White) according to customer requests including special finishing such as waterproof, anti-fire, anti-bacterial etc. Market competition in Indonesia Even the world is getting stronger with the entry of new competition so this creates challenges that must be resolved. Improving efficiency, innovation and quality in the production process is a way to attract the attention of customers and do not forget to maintain customer confidence by implementing customer responses that encourage and meet customer demand Through the analysis of 5 porter strengths and SWOT analysis, it is expected that Lucky Textile Group can prepare and build strength in the current and future competition in the textile industry
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Rusdi, Suharno, M. Yusuf Zakaria, Rifki N. F. Aditya, and Achmad Chafidz. "Investigating the Potential Use of Cassava Leaf Extract as a Natural Coloring Substance for Fabrics." Materials Science Forum 991 (May 2020): 123–28. http://dx.doi.org/10.4028/www.scientific.net/msf.991.123.
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In this modern era, most of the textile industries used synthetic dyes for coloring their fabrics. The reason why most of textile companies use synthetic dyes is that synthetic dyes are easier to obtain, the availability of colors is guaranteed, vast variety of colors, good color fastness. Nevertheless, the use of synthetic dyes in the textile industries has caused environmental problems if the waste not treated properly. Additionally, synthetic dyes commonly contain chemicals which are not good for human health. They can cause cancer, attack the nerves of the brain, etc. Therefore, most of people now focus on using natural dyes as alternative to subtitute synthetic dyes. Nowdays, in Indonesia, naturally-dyed textile products, such as Batik tulis (using natural dyes) has a high market potential as a superior commodity of Indonesian products to enter the international market. Therefore, to develop the use of natural dyes in the textile industries, it is necessary to explore the sources of natural dyes from various potential natural resources in Indonesia. Most of these natural dyes are coming from the plants. Cassava leaf is widely known and used for cooking by the people of Indonesia. Based on the literature, cassava leaf contains natural pigments such as chlorophyll a, chlorophyll b, xanthophyll, carotene, and anthocyanin Based on this, we took the initiative to conduct research to investigate the potential use of cassava leaves extract as natural coloring substance for coloring fabrics. In this research, Cassava leaf extract has been obtained via solid-liquid extraction process using two different solvents, ethanol (96%) and n-hexane. From this study, it was found that the most optimum extract resulted from the extraction process was about 1.67% with ratio of cassava leaves and ethanol solvent of 1:10. This extract was then used for coloring the cotton cloth. After colored, the cloth was then tested for its color fastness by two methods, namely rub method and washing with soap. From the test results, it was found that the fabric dyed with cassava leaf extract was not much able to withstand against rubbing and washing with soap. Based on this result, further research is needed, such as using other agents during the mordanting and fixation processes
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Ningsih, Yosepin Sri, and Jeani Widjaja. "PERANCANGAN ILUSTRASI KOLEKSI BUSANA DENGAN KARAKTER VISUAL TENUN TRADISIONAL INDONESIA." Jurnal Dimensi Seni Rupa dan Desain 17, no. 2 (2021): 117–36. http://dx.doi.org/10.25105/dim.v17i2.8828.
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AbstractThe existence of traditional woven fabrics in Indonesia is no longer limited to people who live in the regions producing these woven textiles products, but has become a wider ownership. The use of traditional woven textiles continues to grow and become popular especially in the world of fashion and life style. The florescence of traditional woven textiles popularity was then analyzed qualitatively based on the results of data obtained through questionnaires, exhibition and social media observation. The data showvarious fashion products using a variety of traditional Indonesian woven textile and sold in various range of price. The products are then classified based on Abraham Maslow’stheory of needs. The findings then used as a basis for creating fashion design illustrations entitled “Goresan Tenun”. The aim of these designs is to show some example of how toapply and use traditional woven textile into fashion products.AbstrakEksistensi kain tenun tradisional di Indonesia tidak lagi terbatas pada masyarakat yang berasal dari daerah penghasil produk tenun tersebut, namun sudah menjadi kepemilikan yang lebih luas. Penggunaan kain tenun terus berkembang dan menjadi populer khususnya di dunia fashion dan lifestyle. Kepopulerantenun tradisional kemudian kemudian dianalisis secara kualitatif berdasarkan perolehan hasil data melalui penyebaran kuesioner, pengamatan pameran dan penjualan baik secara langsung maupun daring. Hasil pengamatan menunjukkan bahwa berbagai produk fashion menggunakan beragam jenis tenun tradisional Indonesia dan dijual dengan harga yang sangat beragam. Beragam produk tersebut kemudian diklasifikasikan berdasarkan teori tingkat kebutuhan dariAbraham Maslow. Hasil dari klasifikasi dianalisis dan digunakan sebagai dasar dalam pembuatan perancangan ilustrasi busana berjudul Goresan Tenun. Tujuan dibuatnya perancangan ini adalah memberikan contoh gambaran pemanfaatan dan pengolahan kain tenun tradisional Indonesia dalam produk fashion.
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Sundari, Cokorda Dewi Widhya Hana, Ida Ayu Made Sri Arjani, and Luh Ade Wilan Krisna. "Analysis of liquid waste in weaving home industry at Nusa Penida, Klungkung, Bali, Indonesia." Indonesia Journal of Biomedical Science 16, no. 2 (2022): 106–10. http://dx.doi.org/10.15562/ijbs.v16i2.429.
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Introduction: The existence of regulations using clothing made from traditional Balinese fabrics cloth called “endek” has caused the demand for woven fabrics to increase. One of the traditional woven fabric handicrafts starting to be recognized and favored by the public is the Cepuk and Rangrang woven fabric from island of Nusa Penida. Currently, liquid waste from weaving home industry activities has not been processed. The purpose of the study was to measure the quality of liquid waste from the weaving home industry and compare it with the quality standards of liquid waste for businesses and or textile industry activities. Method: This study was descriptive, conducted in Nusa Penida District, Klungkung Regency. The sample size was 25, taken by purposive sampling from nine craftsmen actively carrying out the production process with repetition three times. Measurement of liquid waste quality was carried out at the Laboratory of Panureksa Denpasar. The parameters examined are mandatory test parameters including physical parameters (temperature, TDS, TSS and color) and chemical parameters (total chromium, total ammonia, BOD5, COD, sulfide, oil and fat). Data analysis was carried out by comparing the measurement results with the Liquid Waste Quality Standards for Textile Industry Businesses and Activities according to Bali Governor Regulation 16 of 2016. Result: The results showed an average temperature of 27.48o C, TDS levels of 6,095.20 mg/L, TSS 1,090.76 mg/L and color 2,216.56 TCU scale. The chemical parameters showed average levels of total chromium 2.3912 mg/L, total ammonia 1.6068 mg/L, BOD5 675.84 mg/L, COD 1,286.72 mg/L, Sulfide 0.2395 mg/L, oil and fat 1,340 mg/L. Based on Bali Governor Regulation No. 16 of 2016, the parameters of temperature, total ammonia, Sulfide, Oil and Fat meet the quality standard requirements. While the parameters of TDS, TSS, color, total chrome, BOD and COD do not meet the quality standard requirements because it exceed the maximum allowable levels. Conclusion: It is recommended that weaving craftsmen carry out liquid waste treatment before disposal in the environment.
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Anele, Kalu Kingsley, and Young-Rae Cho. "Revisiting the Marketing of the Indonesian Batik and the Nigerian Adire." International Journal of Cultural and Art Studies 6, no. 2 (2022): 75–95. http://dx.doi.org/10.32734/ijcas.v6i2.6766.
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This paper aims to fill the gap in the marketing of Batik and Adire. The methodology deployed is a comparative analysis of literature and legal instruments. The paper also uses data to comparatively analyze the impact of the marketing of Batik and Adire in the creative industries in Indonesia and Nigeria. The paper's findings show that both fabrics share some commonalities in making them, and their designs have sociocultural meanings. They contribute to sustainable socio-economic and cultural development of both countries. Moreover, both fabrics have cultural, aesthetic, artistic, and religious values. They play significant roles in tourism, art-craft, the creative industry, and the way of life of Indonesians and Nigerians. Both fabrics require similar measures to enhance their marketing strategies given their marketing limitations. Conclusively, common measures can be used to enhance the marketing of both fabrics in terms of the use of technology. Hence, both countries should put appropriate legal regimes, regulatory frameworks, facilities, and infrastructure in place to achieve that. Also, the creation of textile cottage industries, the establishment of small and medium enterprises, and public-private partnerships are key in bolstering the marketing of Batik and Adire.
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Khan Majlis, Brigitte. "Stripes, Checks, and Flowers: Textile Patterns in the Murals of Lepakshi, South India." Textile Museum Journal 46, no. 1 (2019): 26–41. http://dx.doi.org/10.1353/tmj.2019.a932746.
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Abstract: More than 500 persons populate the narrative paintings on the ceilings of the Virabadhra Temple in Lepakshi, Andhra Pradesh, built under the Vijayanagara ruler Achyutaraya during the first half of the sixteenth century. The costumes donned by the gods and people in the paintings can be taken as representatives of textiles en vogue during the sixteenth century. They demonstrate not only trade connections within India but also testify to imported textiles from Ottoman Turkey or Safavid Iran. The painted textiles show a wide spectrum of patterns. Some of them bear a close similarity to extant cotton textiles produced in Gujarat for export to Egypt and Indonesia in the fifteenth and sixteenth centuries. Others were manufactured in workshops along the Coromandel Coast for export to Indonesia in the seventeenth and eighteenth centuries. By comparing these extant textiles with the painted ones, possible techniques are suggested for the Lepakshi fabrics.
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Rohalida, Ananda Putri, Kahfiati Kahdar, and Yan Yan Sunarya. "Pemanfaatan Limbah Kulit Siwalan (Borassus Flabellifer) Sebagai Pewarna Alami untuk Produk Intimates (Bra Mastektomi)." Syntax Idea 4, no. 1 (2022): 9. http://dx.doi.org/10.36418/syntax-idea.v4i1.1735.
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Siwalan is spread throughout Indonesia, such as Bali, South Sulawesi, and East Java. Siwalan has many benefits from fruit, leaves, to coir fiber. However, the skin of siwalan is still underutilized. Intimate eco-fashion using natural dyes is still underdeveloped, especially in the manufacture of mastectomy bras, even though this opportunity is still very large considering the high number of breast cancers in Indonesia. The number of breast cancer sufferers in Indonesia has reached 42.1 people per 100 thousand population. The utilization of waste siwalan’s skin as a natural dye for mastectomy bra products is a fulfillment of the need for mastectomy bras by providing color variations and innovations that are more environmentally friendly. This study was structured using mixed methods. The method is more directed to the qualitative method supported by experiments which are part of the quantitative method. The objectives of this research include: (a) Produce natural dyes through experiments from siwalan’s skin extract on tencel fabrics that are most in demand by potential customers; (b) Produce a mastectomy bra based on eco fashion through observation of intimates fashion 2023 design and color preference using palm tree extract by prospective customers. The novelties in this research include: (a) Making textile products with natural coloring derived from the palm bark; (b) Functioning the material that has been dyed into a mastectomy bra product. This resulted in conclusions, namely: (a) The production of textile products with natural dyes derived from the skin of the palm tree; (b) The result will be an innovation in the field of fashion that is more environmentally friendly, a mastectomy bra made from dyed tencel fabric will function very well and have beautiful colors that are environmentally friendly.
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Rohalida, Ananda Putri, Kahfiati Kahdar, and Yan Yan Sunarya. "Pemanfaatan Limbah Kulit Siwalan (Borassus Flabellifer) Sebagai Pewarna Alami untuk Produk Intimates (Bra Mastektomi)." Syntax Idea 4, no. 1 (2022): 9–18. http://dx.doi.org/10.46799/syntax-idea.v4i1.1735.
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Siwalan is spread throughout Indonesia, such as Bali, South Sulawesi, and East Java. Siwalan has many benefits from fruit, leaves, to coir fiber. However, the skin of siwalan is still underutilized. Intimate eco-fashion using natural dyes is still underdeveloped, especially in the manufacture of mastectomy bras, even though this opportunity is still very large considering the high number of breast cancers in Indonesia. The number of breast cancer sufferers in Indonesia has reached 42.1 people per 100 thousand population. The utilization of waste siwalan’s skin as a natural dye for mastectomy bra products is a fulfillment of the need for mastectomy bras by providing color variations and innovations that are more environmentally friendly. This study was structured using mixed methods. The method is more directed to the qualitative method supported by experiments which are part of the quantitative method. The objectives of this research include: (a) Produce natural dyes through experiments from siwalan’s skin extract on tencel fabrics that are most in demand by potential customers; (b) Produce a mastectomy bra based on eco fashion through observation of intimates fashion 2023 design and color preference using palm tree extract by prospective customers. The novelties in this research include: (a) Making textile products with natural coloring derived from the palm bark; (b) Functioning the material that has been dyed into a mastectomy bra product. This resulted in conclusions, namely: (a) The production of textile products with natural dyes derived from the skin of the palm tree; (b) The result will be an innovation in the field of fashion that is more environmentally friendly, a mastectomy bra made from dyed tencel fabric will function very well and have beautiful colors that are environmentally friendly.
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Nuraedah, Nuraedah, Muhammad Bakri, and Anita Ahmad Kasim. "Quadratic Support Vector Machine For The Bomba Traditional Textile Motif Classification." Indonesian Journal of Electrical Engineering and Computer Science 11, no. 3 (2018): 1004. http://dx.doi.org/10.11591/ijeecs.v11.i3.pp1004-1014.
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<p><em>The Bomba textile is one of the textile fabrics in Indonesia used in a province called Sulawesi Tengah. Bomba Textile has a unique pattern and has a philosophical meaning in human life in Sulawesi Tengah. Bomba Textile has many motif patterns and varied colors. The problem in this research is the difficulty in classifying every The Bomba textile motif in each class. Data classification is needed to recognize the motif of each Bomba textile pattern and to cluster it into the appropriate class. The features used to classify the Bomba textile motif is the textural feature. Texture features obtained from Gray-Level Co-occurrence matrices (GLCM) method consisting of energy, contrast, homogeneity and correlation with four angles 0</em><em>°</em><em>, 45</em><em>°</em><em>, 90</em><em>°</em><em>, and 135</em><em>°</em><em>. This research will implement Quadratic Vector Machine (QSVM) method with texture feature on Bomba textile pattern. The use of a single texture feature with angles 90</em><em>°</em><em> has an accuracy of 90.3%. The incorporation of texture features by involving all features at all angles can improve the accuracy of the classification model. This research produces a model of motif classification on the Bomba textile which has the classification accuracy of 94.6% and error rate of 5.4%.</em></p>
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Hamira, Hamira. "Vertical Integration in Agro-Industry: Eco-Friendly Gambier Products." Modern Economics 28, no. 1 (2021): 153–59. http://dx.doi.org/10.31521/modecon.v28(2021)-22.
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Abstract. Introduction. Textile dyeing on fabrics and clothing causes environmental pollution and health problems. There is an innovation of natural coloring using gambier in the Gambo Muba fabric industry and the garment industry in Indonesia. Gambier farmers supply natural dye raw materials. Then through the supply chain of the Gambo Muba fabric industry and the garment industry, it causes vertical integration in the gambier agro-industry. This study uses primary data from 39 vertically integrated companies in the gambier agro-industry, including the gambier rubber industry, the Gambo Muba fabric industry, and the garment industry. The data was then analyzed using descriptive qualitative. Purpose. This study analyzes the relationship between vertically integrated industries, including the transaction costs between them, their impact of vertical integration on added value, and their profitability. Results. Vertically integrated industries have low transaction costs. The impact of vertical integration on the gambier agro-industry adds to the chain of economic activities that can increase added value and profits. Conclusions. The impact of vertical integration can reduce transaction costs, especially the supplier coordination cost component, distributor cost component, inter-company lobbying costs components. The benefits of vertical integration in the gambier agro-industry are increasing high added value, profit levels, decreasing environmental pollution, and agro-industry sustainability.
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Hamira, Hamira, Bernadette Robiani, and Mukhlis Mukhlis. "VERTICAL INTEGRATION in AGRO-INDUSTRY: ECO-FRIENDLY GAMBIER PRODUCTS." Journal of Economic Development, Environment and People 10, no. 4 (2021): 9–17. http://dx.doi.org/10.26458/jedep.v10i4.711.
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Textile dyeing on fabrics and clothing causes environmental pollution and health problems. There is an innovation of natural coloring using gambier in the Gambo Muba fabric industry and the garment industry in Indonesia. Gambier farmers supply natural dye raw materials. Then through the supply chain of the Gambo Muba fabric industry and the garment industry, it causes vertical integration in the gambier agro-industry. This study uses primary data from 39 vertically integrated companies in the gambier agro-industry, including the gambier rubber industry, the Gambo Muba fabric industry, and the garment industry. The data was then analyzed using descriptive qualitative. This study analyzes the relationship between vertically integrated industries, including the transaction costs between them, their impact of vertical integration on added value, and their profitability. Vertically integrated industries have low transaction costs. The impact of vertical integration on the gambier agro-industry adds to the chain of economic activities that can increase added value and profits. The impact of vertical integration can reduce transaction costs, especially the supplier coordination cost component, distributor cost component, inter-company lobbying costs components. The benefits of vertical integration in the gambier agro-industry are increasing high added value, profit levels, decreasing environmental pollution, and agro-industry sustainability.
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Br Napitupulu, Lisa Oktavia, Asri Widyasanti, Ahmad Thoriq, and Asep Yusuf. "The Study of Process and Characteristics of Woven Fabric from Plant Fibers of Lidah Mertua (Sansevieria trifasciata P.)." Jurnal Ilmiah Rekayasa Pertanian dan Biosistem 7, no. 2 (2019): 207–20. http://dx.doi.org/10.29303/jrpb.v7i2.137.
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Sansevieria or known as tongue-in-law plant is an ornamental plant that is quite popular in Indonesia. This plant is very easily cultivated, easy to grow in areas with less water and sunlight. This plant contains potential natural fibers used as raw material requirements for textile industry, specifically in fabric making. The aims of this research were to determine the production process consisting and analyzing the characteristics of woven fabrics from the leaves of the tongue-in-law plant. The method of fibers extraction used the mechanical decortication process and making woven fabric is done using ATBM. The research method used is descriptive method. Based on the results of the study, it is known that the woven cloth of tongue-in-law has color characteristics with a value of L* 69.73; a* 1.86; b* 17,38; H 83,88. Besides that, it is known the mechanical characteristics of the tongue-in-law woven fabric, the tensile strength of the fabric, the weft direction of 46.05 kg and the warp direction of 19.96 kg; weft direction stretch 22% and stretch direction of the warp of 55.20%; weft direction tear strength 19.17% and wrap direction 4.60%; and air penetrating power 116.2 cm3/cm2/s.The value of the tensile strength of the tongue-in-law woven fabric produced in the warp direction does not meet the standards of SNI 08-0056-2006 woven fabric quality requirements for suit.Therefore, woven fabric produced is intended as a craft material.
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Putri, Aulia Wara Arimbi, and Jesslyn Ivana Kristi. "EKSPLORASI ECO PRINTING DAUN LANANG DAN PEWARNAAN ALAM KAYU TEGERAN PADA KAIN RAYON SEBAGAI POTENSI MATERIAL FASHION SUSTAINABLE." Gorga : Jurnal Seni Rupa 9, no. 2 (2020): 317. http://dx.doi.org/10.24114/gr.v9i2.20271.
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AbstrakPerkembangan industri tekstil dan fashion yang sangat pesat beberapa tahun ini, khususnya di Indonesia, dirasakan turut menimbulkan berbagai dampak yang kurang baik terhadap lingkungan, salah satunya diakibatkan dari limbah yang dihasilkan dari proses produksinya. Pemberdayaan produk yang berkelanjutan adalah suatu cara penanggulangan yang baik dalam penanganan kerusakan yang ditimbulkan sekaligus menjaga kelestarian alamnya. Produk fashion yang memiliki konsep sustainable atau eco design dengan pemanfaatan hasil alam, merupakan konsep yang dimasa kini kian marak diusung oleh para pelaku industri tekstil dan fashion besar hingga rumahan. Teknik pencelupan warna alam dan eco printing adalah cara yang dapat digunakan untuk menggantikan zat kimia dalam proses pewarnaan dan pemberian motif pada material kain secara alami yang berasal dari banyak variasi ekstrak tumbuhan. Proses eksperimen ekstrak kayu tegeran sebagai larutan pewarna material kain utama dan kandungan tanin pada daun lanang sebagai motif serta didukung dengan mordan tunjung dan fiksator tawas, merupakan kombinasi yang difokuskan sebagai penelitian terhadap variasi efek yang ditimbulkan ketika diaplikasikan pada kain rayon yang mulai digunakan sebagai material pokok pengganti polyester murni dan alternatif kain yang lebih dapat dijangkau oleh masyarakat di Indonesia dan juga mulai diperkenalkan sebagai jenis kain utama di Indonesia, yang semuanya dimanfaatkan sebagai media material dan bahan untuk memproduksi sebuah produk fashion yang ramah lingkungan. Kata Kunci: eco, fashion, printing, rayon, sustainableAbstractThe development of the textile and fashion industry which is growing rapidly in recent years, especially in Indonesia, has caused various environmental damage, for example the result of waste which generated from the production process. Sustainable product empowerment is a good countermeasure in handling the damage caused and for the environtment preservation. Fashion products that have a sustainable or eco design concept using natural products are a concept that is now increasingly being promoted by people in the textile and fashion from large to small scale industry. Natural color dyeing and eco printing techniques are ways that can be used to replace chemical substances in the process of dyeing and imparting patterns on natural fabrics derived from many variations of plant extracts. The experimental process of tegeran wood extract as a dye solution for the main fabric material and the tannin content in lanang leaves as a pattern and supported by mordant tunjung and alum as fixator, is a combination that we focused as a research on the effects variations when applied to rayon fabric which is starting to be used as a staple material, a substitute for pure polyester and a fabric alternative that is more accessible to people in Indonesia and has also been introduced as the main type of fabric, all of which are used as a medium for materials to produce an environmentally friendly fashion product. Keywords: eco, fashion, printing, rayon, sustainable.
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Muhammad Naoval Haris, Ratnawati Ratnawati, and Nita Aryanti. "Effect of acid and alkaline treatment on the adsorption capacity of cuttlefish bone." World Journal of Advanced Engineering Technology and Sciences 9, no. 1 (2023): 316–20. http://dx.doi.org/10.30574/wjaets.2023.9.1.0177.
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As a center of textile industry in Indonesia, city of Pekalongan faces environmental issue due to wastewater effluent from textile industry. The wastewater from textile industry contains dye, mostly synthetic dye, used for coloring the fabrics. One of the dyes commonly used is sulphur blue for producing dark blue color. One of simple methods to reduce the dye in the wastewater is adsorption. Cuttlefish bone was used as the adsorbent. It is abundantly available and cheap because it is a waste of fishing industry. The effect of acid and alkaline treatment to the cuttlefish bone on its adsorption capacity toward sulphur blue dye was investigated. The acid and alkaline treatments were conducted using hydrochloric and sodium hydrochloric solutions, respectively. The concentrations of both solutions were varied (0.0 N, 0.25 N, 0.5 N, 0.75 N, 1.0 N). The concentration of acid and alkaline affect the adsorption capacity of the cuttlefish bone. The cuttlefish bone treated with 0.25 N hydrochloric solution is able to reduce the concentration of the dye solution from 217.67 to 87.67 Pt-Co, while that treated with 0.25N sodium hydroxide solution lowers the concentration of the dye solution to 74.33 Pt-Co. The alkaline-treated cuttlefish bone showed higher adsorption capacity than the acid-treated cuttlefish bone.
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Nuridayanti, Nuridayanti, Raodatul Fadilah, and Fahriansyah Fahriansyah. "Application of Mamdani's Fuzzy Logic in Determining the Price of Silk Fabric in Ujung Pandang District." Journal of Renewable Energy and Smart Device 1, no. 1 (2023): 19–24. http://dx.doi.org/10.61220/joresd.v1i1.234.
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The development of the silk textile industry in Indonesia is supported by several provinces including South Sulawesi. South Sulawesi has several centers for the development of mulberry and silkworm cultivation which are the basic ingredients for making silk cloth. Silk cloth is one of the processed products from silk thread which is produced from cocoons produced by silkworm cultivation and woven into silk cloth. Traditional woven fabrics produced in regions in Indonesia, including South Sulawesi, are not only made for clothing purposes. The purpose of this study is to determine the price of silk cloth by applying the Mamdani fuzzy method to the MATLAB software, so that silk cloth businesses can set prices according to the quality of the goods. Fuzzy logic is considered capable of mapping an input into an output without ignoring the existing factors. Based on this, fuzzy logic will produce a model of a system capable of estimating selling prices.
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Alief Fathul Habibie, Fachira Nur Sahfitri, and Welia Desera Mandalika. "Media Pembelajaran Interaktif “Batik Pedia” Berbasis Aplikasi Android Pada Ensiklopedia Batik Nusantara." Jurnal Komputer Teknologi Informasi dan Sistem Informasi (JUKTISI) 2, no. 2 (2023): 326–38. http://dx.doi.org/10.62712/juktisi.v2i2.75.
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Batik is a traditional textile art form originating from Java, Indonesia. This involves using wax to design patterns on cloth, which are then dyed to create the effect of many colors. The batik process involves several steps including waxing, dipping and boiling the cloth to remove the wax. Batik has a long history in Indonesia and is an important part of the country's cultural heritage. It is often used to make decorative fabrics such as clothing and tablecloths. Batik has grown in popularity around the world in recent years, with many designers incorporating this technique into their collections. Batik is a comprehensive resource on the history and techniques of Batik, Indonesia's traditional textile art. This encyclopedia provides structured information about the origins and cultural significance of batik, and how batik has developed over time. Some of the topics discussed in this Batik Encyclopedia include the history of batik, batik patterns and designs, the manufacturing process, and the tools used to make batik, as well as fun and certainly interesting quizzes. In this study, the authors used a qualitative descriptive approach and an IMSDD development method which would later be implemented into an Android-based application using Microsoft PowerPoint, Ispring Suite, and the APK 2 website builder. With the interactive application "Batik Pedia", the authors hope that later it can provide educational tools to its users about the diversity of batik motifs in Indonesia. So that batik will continue to grow and be recognized as one of Indonesia's wealthy heritage.
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Nugroho, Titania Tjandrawati, Putri Nabilah, Nuria Wulandari, Yuana Nurulita, Andi Dahliaty, and Yanti Yanti. "Bioremediation, Biosorption and Biodegradation of the Textile Dye Reactive Black 5 by Life Cultures of Trichoderma asperellum LBKURCC1." Jurnal Natur Indonesia 21, no. 2 (2023): 93. http://dx.doi.org/10.31258/jnat.21.2.93-99.
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Reactive black 5 (RB5) is an azo dye widely used in the textile industry for dyeing fabrics. It is categorized as a recalcitrant dye that is hard to degrade and an environmental pollutant. Therefore, textile waste effluents containing this dye must be treated to remove or degrade the dye, before being released into the environment. One method that can be used to degrade synthetic dyes such as RB5 is to use biological methods, by directly using live fungal cells or using laccase enzymes. Trichoderma asperellum LBKURCC1 is a filamentous fungus isolated from cacao plantation soil in Riau, Indonesia, and it is a laccase enzyme producer. To be able to determine the ability of T. asperellum LBKURCC1 life cultures to decolorize RB5 dye, several RB5 dye removal tests were carried out. Incubation of 50 ppm RB5 with life cultures of T. asperellum LBKURCC1 at room temperature (30°C, pH 6.5) for 24 hours resulted in 22% bioremediation, 3.2% biosorption and 19.1% biodegradation of the RB5 dye. The results of this study show that the live culture of T.asperellum LBKURCC1 is capable of biodegrading RB5. This is indicated by the degradation of RB5 by extracellular enzymes produced by these filamentous fungi.
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Laksmi, Luciana. "Pengaruh Konsentrasi Senyawa Dihidroksi Etilena Urea (Akrofik NZK) Pada Proses Finishing Kain Kapas 100% Dengan Metode Pemanas Awetan Suhu Rendah (Low Curing) Terhadap Stabilitas Dimensi, Kekuatan Sobek Dan Kekuatan Tarik." Sainteks: Jurnal Sains dan Teknik 2, no. 1 (2020): 19–27. http://dx.doi.org/10.37577/sainteks.v2i1.220.
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The process of producing uniforms or shirts made of 100% cotton which has a pattern of weaving or printing is very much in demand, especially in Indonesia with a tropical climate which is suitable for wearing clothes made from cotton. The need for 100% cotton fabric needs both domestically and abroad made the textile companies intensely innovate because of the connection with the quality of the cotton fabric to meet market standards and in accordance with consumer desires. There are several factors that usually affect the quality of a fabric, including dimensional stability, tensile strength and tensile strength. Anti-creasing enhancements are a form of resin refinement application intended to improve the wrinkle-resistant properties of cellulose fabrics. The purpose of this study was to determine the optimum conditions that can be achieved from the addition of anti-tangle resin substances (Acrylics NZK) to the physical properties of the fabric. The resin used was an anti-creasing resin with the trade name Ackfik NZK (Dihydroxy Ethylene Urea) using a temperature of low heating (Curing 130 C) and a concentration variation of 80, 90. 100,110 g / l. The results showed the optimum conditions achieved in this experiment were the concentration of anti-creasing agent 100g / l with a heating temperature of 130 C obtained a formaldehyde-free content of 55.80 ppm, dimensional stability of 3.2% wariness of 2.4% warp and towards the feed , tear strength of 0.640 kg of cloth towards the warp of 0.625 kg in the direction of feed, Pull strength of fabric 24.43 kg in the direction of warp 11.86 kg in the direction of feed.
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Nainggolan, Devi Julietta, Judi Alhilman, and Nurdinintya Athari Supratman. "Performance Assessment Based on Reliability of Weaving M251 Machine Using Reliability, Availability & Maintainability (RAM) and Cost of Unreliability (COUR) Methods (Case Study at PT Buana Intan Gemilang)." International Journal of Innovation in Enterprise System 1, no. 01 (2017): 13. http://dx.doi.org/10.25124/ijies.v1i01.13.
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The textile industry is one of industries that has an important role in the national economy. PT Buana Intan Gemilang (BIG) is one of textile industry in Indonesia which uses Weaving machine to produce motif and sajadah fabrics. The purpose of this research is to analyze the reliability of Weaving M251 machine that has the most damage in 2014. To avoid losses due to machine damage, the reliability, availability and maintainability of the machine need to be improved by using Reliability, Availability & Maintainability (RAM) Analysis method. In addition, the total cost caused by RAM problems can be calculated by using Cost of Unreliability (COUR) method. Based on the evaluation using Reliability Block Diagram (RBD) modeling, it is found that the critical subsystem reliability = 44.36% for 144 working hours and the total repair time that the critical subsystem needs to perform in acceptable operational condition , at least in 1 to 70 hours. There are two different forms of availability that have been calculated, therefore inherent availability = 95,546% which is used as leading indicator, and operational availability = 85,572% which used as lagging indicator. as it is compared, lagging indicator does not meet the performance of leading indicator. The total of unreliability cost when the machine is in active repair time = 39,580,689.02 IDR and within downtime = 135,588,452.13 IDR.
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Eskani, Istihanah Nurul, Edia Rahayuningsih, Widi Astuti, and Bidhari Pidhatika. "Low Temperature In Situ Synthesis of ZnO Nanoparticles from Electric Arc Furnace Dust (EAFD) Waste to Impart Antibacterial Properties on Natural Dye-Colored Batik Fabrics." Polymers 15, no. 3 (2023): 746. http://dx.doi.org/10.3390/polym15030746.
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Natural polymer (cellulose)-based fabric was colored using an environmentally friendly natural dye extracted from Jalawe (Terminalia bellirica) in the preparation of Batik fabric, a cultural heritage of Indonesia that is recognized by United Nations Educational, Scientific and Cultural Organization (UNESCO). Despite the significant favorable properties in terms of functions, environmental, and cultural aspects, the combination between natural polymer-based fabric and natural dyes makes the Batik fabric an ideal medium for bacterial growth, leading to lower product quality. In the quest for a sustainable, environmentally friendly, rich-in-culture, yet durable textile, this study aimed at the functionalization of natural dye (ND)-colored Batik fabric with antibacterial ZnO nanoparticles (ZnO NPs) synthesized from Electric Arc Furnace Dust (EAFD) waste. An in situ immobilization process with a Chemical Bath Deposition (CBD) method was explored at a pH range from 6 to 11 at 50 °C. Characterization methods include XRD, XRF, FESEM, EDX, FT-IR, tensile strength measurement, agar diffusion testing, and a CIE L*a*b* scale measurement. The XRD and XRF results showed that pure (>98%) ZnO NPs were formed at pH 11 of the CBD process. FESEM results demonstrated that the pure ZnO NPs either precipitated at the CBD reactor or were immobilized on the cellulose fabric, exhibiting distinct morphology compared to the non-pure ZnO NPs. EDX elemental analysis before and after washing demonstrated the durability of the ZnO NPs attachment, in which 84% of the ZnO NPs remained on the fabric after two washing cycles (equal to 10 cycles of home laundering). The FT-IR spectra provided information on the chemical functional groups, demonstrating the success of the ZnO NPs immobilization on the cellulose fabric through Van der Waals or coordination bonding. Moreover, the in situ immobilization of ZnO NPs enhanced the Batik fabric’s tensile strength but reduced its elongation. ZnO NP-functionalized Batik fabric that was treated at pH 10 and pH 11 showed antibacterial activity against Staphylococcus aureus. The CIE L*a*b* scale results showed that the immobilization process affects the color quality of the ND-colored Batik fabric. However, based on organoleptic observations, the color of the Batik fabric that was treated at pH 11 is still acceptable for Jalawe ND-colored Batik fabric.
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Nainggolan, Devi Julietta, Judi Alhilman, and Nurdinintya Athari Supratman. "Performance Assessment Based on Reliability of Weaving M251 Machine Using Reliability, Availability & Maintainability (RAM) and Cost of Unreliability (COUR) Methods (Case Study at PT Buana Intan Gemilang)." International Journal of Innovation in Enterprise System 1, no. 01 (2017): 13–18. http://dx.doi.org/10.25124/ijies.v1i01.5.
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The textile industry is one of industries that has an important role in the national economy. PT Buana Intan Gemilang (BIG) is one of textile industry in Indonesia which uses Weaving machine to produce motif and sajadah fabrics. The purpose of this research is to analyze the reliability of Weaving M251 machine that has the most damage in 2014. To avoid losses due to machine damage, the reliability, availability and maintainability of the machine need to be improved by using Reliability, Availability & Maintainability (RAM) Analysis method. In addition, the total cost caused by RAM problems can be calculated by using Cost of Unreliability (COUR) method. Based on the evaluation using Reliability Block Diagram (RBD) modeling, it is found that the critical subsystem reliability = 44.36% for 144 working hours and the total repair time that the critical subsystem needs to perform in acceptable operational condition , at least in 1 to 70 hours. There are two different forms of availability that have been calculated, therefore inherent availability = 95,546% which is used as leading indicator, and operational availability = 85,572% which used as lagging indicator. as it is compared, lagging indicator does not meet the performance of leading indicator. The total of unreliability cost when the machine is in active repair time = 39,580,689.02 IDR and within downtime = 135,588,452.13 IDR.
 Keywords—Cost of Unreliability (COUR), Lagging Indicator, Leading Indicator, Reliability, Availability & Maintainability (RAM) Analysis.
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Farihah, Farihah, Dina Ampera, Halimul Bahri, Yudhistira Anggraini, and Bakhrul Khair Amal. "The Development of Batak and Malay Batik Motif Stilation in Improving the Creative Industry in Indonesia." Randwick International of Social Science Journal 2, no. 4 (2021): 416–27. http://dx.doi.org/10.47175/rissj.v2i4.323.
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The purpose of this study was to determine the stylization of Batak and Malay batik motifs by developing the shape of a typical Batak batik motif with a typical Malay batik motif and to determine the process of developing a Batak and Malay batik motif design. The target of the research is to create and produce designs of stylized Batak and Malay batik motifs and to conduct batik trials on fabrics with motifs that have been developed, so as to produce textile products in the form of a blend of batik cloth between two tribes in North Sumatra. The research method used is the development research method (R&D). The research model is the IDI (instructional, development, Institute) development model, which includes three stages: define, develop, evaluate. The define stage includes: identifying problems, needs analysis, motive characteristic analysis, design concept analysis. The develop stage includes: development of motif designs and validation of product results by experts (validators). The results showed that Batak and Malay batik products deserve to be developed as a creative industry. The first validation gave a score of 0.89, the second validation got a score of 0.86 and the third validation obtained a score of 0.94. The average value of the validation results is 0.89, so the results of research on the development of stylized Batak and Malay batik motifs are included in the appropriate category and can improve the creative industry in Indonesian.
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Wijaya, Karto, and Asep Yudi Permana. "KAWASAN CIGONDEWAH TERKAIT SARANA PRASARANA LINGKUNGAN TERBANGUN SEBAGAI KAWASAN WISATA TEKSTIL DI KOTA BANDUNG." LANGKAU BETANG: JURNAL ARSITEKTUR 4, no. 2 (2017): 79. http://dx.doi.org/10.26418/lantang.v4i2.23247.
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Kawasan Cigondewah pada awalnya merupakan kawasan agraris, dan kawasan ini mengalami perkembangan kearah sentra perdagangan kain dan industri tekstil sejak tahun 1960-1976 yang ditandai oleh usaha karung goni oleh masyarakat setempat. Kegiatan ekonomi berbasis home industri ini memberikan kontribusi pendapatan bagi khususnya penduduk setempat, karena tenaga kerja berasal dari sekitar kelurahan Cigondewah sendiri. Mulanya usaha karung goni ini dibeli dari pabrik gula yang kemudian dipasarkan hingga Kawarang dan Banten. Pada tahun 1976 mengalami kejenuhan, yang kemudian masyarakat setempat beralih dari usaha karung goni ke imbah industri (karung plastik dan kain bekas). Pada awal 1997 kawasan cigondewah mampu berperan sebagai sentra perdagangan kain. Sentra ini melayani pembeli-pembeli yang berasal dari Bandung dan sekitasrnya. Bahan baku dari tekstil berasal dari pabrik yang ada di wilayah tersebut, namun sebagian lagi berasal dari Jakarta melalui pelabuhan Tanjung Priok. Kawasan ini dalam RTRW Kota Bandung adalah kawasan industri berwawasan lingkungan. Perkembangan kawasan ini memberikan potensi yang luas terutama dalam pengembangannya sebagai sebuah kawasan yang memiliki produk unggulan/spesialisasi dalam cakupan rencana pengembangan pariwisata Kota Bandung. Penelitian ini merupakan studi penelitian deskriptif dengan menggunakan pendekatan kualitatif, di mana melalui pendekatan ini bertujuan untuk memberikan gambaran mengenai fakta dan fenomena yang terjadi dilapangan. Berdasarkan hasil analisis penelitian ditemukan potensi dan karakteristik kawasan yang mendukung dalam pengembangan Kawasan Cigondewah sebagai Kawasan Wisata Tesktil di Kota Bandung. Terkait dengan prasarana dan sarana lingkungan ditemukan permasalahan, antara lain: ketersediaan sarana parkir dan jalur pedestrian yang kurang memadai, kondisi kawasan yang belum tertata secara maksimal.Kata-kata Kunci: Lingkungan Terbangun, Perkembangan KawasanCIGONDEWAH AREA RELATED TO ENVIRONMENT BUILT INFRASTRUCTURE FACILITIES AS SENTRA CLOTH IN BANDUNG CITY The Cigondewah area was originally an agrarian area, and the region has been progressing towards the trading center of textile fabrics and industry since 1960-1976 which is marked by the burlap sack by the local community. This home industry-based economic activity contributes the income to the locals in particular, since the labor comes from around Cigondewah urban village itself. Initially, this sack business was purchased from a sugar factory which was then marketed to Kawarang and Banten. In 1976 experienced saturation, which then the local community shifted from the business of burlap sack to industrial waste (plastic bags and used cloth). In early 1997 the cigondewah area was able to serve as a fabric trading center. This center serves buyers who come from Bandung and sekitasrnya. Textile raw materials come from existing factories in the area, but some come from Jakarta through the port of Tanjung Priok. This area in RTRW Bandung is environmentally friendly industrial area. The development of this area provides a wide potential especially in its development as an area that has excellent products / specialization in coverage of tourism development plan of Bandung City. This research is a descriptive research study using a qualitative approach, which through this approach aims to provide an overview of the facts and phenomena that occur in the field. Based on the results of research analysis found the potential and characteristics of the area that supports the development of Cigondewah Area as Tourism Area Tesktil in Bandung. Related to infrastructure and environmental facilities found problems, among others: the availability of parking facilities and pedestrian paths are inadequate, the condition of the area that has not been set up optimally. The Cigondewah area was originally an agrarian area, and the region has been progressing towards the trading center of textile fabrics and industry since 1960-1976 which is marked by the burlap sack by the Keywords: Built Environment, Regional DevelopmentREFERENCESCreswell, J. W. (2010). Research Design: Pendekatan Kualitatif, Kuantitatif, dan Mired. Yogyakarta: Pustaka Pelajar.Hadi, S. P. (2001). Manusia dan Lingkungan. Semarang: Badan Penerbit Universitas Diponegoro.Jaya, I. (2007). Pengelolaan Lingkungan Kawasan Wisata Danau Lebo Kecamatan Taliwang Kabupaten Sumbawa Barat. Universitas Diponegoro.Sudjarto, D. (1985). Diktat Kuliah Perencanaan Kota Baru. Bandung: ITB.Sugandhy, A. (1999). Penataan Ruang dalam Pengelolaan Lingkungan hidup. Jakarta: PT. Gramedia Pustaka Utama.Undang-undang No. 9 tahun 1990. (1990). Undang-undang Republik Indonesia Nomo 9 tahun 1990.Wijaya, K., Setioko, B., & Murtini, T. W. (2015). Pengaruh Perubahan Fungsi Lingkungan Binaan terhadap Citra Kawasan Wisata Tekstil Cigondewah Kota Bandung. Jurnal Arsitektur Komposisi, 11(2), 67–75. Retrieved from ojs.uay.ac.id
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Fajri, Taris, and Hermin Triyowati. "PERANAN SEKTOR INDUSTRI TEKSTIL DAN PRODUK TEKSTIL (TPT)TERHADAP PEREKONOMIANINDONESIA: ANALISIS INPUT-OUTPUT." Jurnal Ekonomi Trisakti 1, no. 1 (2022): 37–58. http://dx.doi.org/10.25105/jet.v1i1.13484.
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This study aims to determine how well the number of direct and indirect linkages, index of power deployment and index of the degree of sensitivity as well as the multiplier output, income, and labor sectors of textiles and textile products within the scope of the Indonesian economy in 2005. To get the purpose of the study analysis, this research is done by analyzing the data on Indonesian Input-Output Table 175 sectors in 2005. Analyzed data from the Input-Output Table is a data transaction on the basis of domestic producer prices. These sectors are aggregated into 68 sectors. This is done to see the impact of deployment and linkage textiles and textile products to other sectors of the economy. In the analysis of data, fiber and yarn spinning industry has backward linkages value is smaller than the linkages in the future. Textile industry (fabric), the apparel industry (garment), and the other has a value of industrial textiles backward linkages greater than the relationship in the future. In the analysis of the spread of the power index, industrial fiber and yarn spinning, textile (cloth), industry apparel (garment), and the textile industry was able to increase the upstream sector growth or increase the output of other sectors that are used as inputs by industry sector itself because it has the power dispersion index value greater than one. Power dispersion index greater than one means that the sector is able to enhance the growth of the upstream sector. Analysis of the degree of sensitivity index, industrial textile (cloth), the apparel industry and textile industry can’t afford to encourage the production of the downstream sector which uses the input from the industrial sector as it has a degree of sensitivity index values less than one. In the multiplier analysis, for the analysis of output multipliers, the apparel industry has the largest output multiplier of the other sub-sectors is equal to 2.4647. For household income multiplier, fiber and spinning sector has multiplier largest household income from other sub-sectors is equal to 0.1644. In the employment multiplier, fiber and spinning sector had the largest employment multiplier of other sub-sectors is equal to 0.0214. From the analysis of the data, it can be concluded that the textile and clothing sector is the sector that Indonesia was in a position downstream of where the sector is a sector that produces an output that is directly consumed by final consumers. If the Government can properly optimize the sector, then the sector of textiles and textile products may act as a puller outputs of upstream sectors
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Rahayu, Cindy, Yunitasari Christanti, and Nathanael Widjaja. "Digital Marketing Strategy to Enhance the Competitiveness of Muslim Fashion SMEs:." Social Economics and Ecology International Journal (SEEIJ) 8, no. 1 (2024): 45–53. http://dx.doi.org/10.21512/seeij.v8i1.11375.
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Tenun Ikat Troso, an indigenous weaving craft originating from Jepara, specifically Troso village, involves the intricate process of weaving fabric from warp and weft threads that are initially tied and dyed using natural pigments. The weaving apparatus employed for this task is the automated power loom (ATBM) (Ismanto, Tamrin, & Pebruary, 2018). The enterprising Mrs. Rahayu, who owns UMKM Yabunaya Muslim Store, embarked on her business journey in 2017. She ventured into both selling and personally manufacturing modest dresses, utilizing an assortment of Indonesian textiles, including batik prints, stamped batik (batik cap), hand-drawn batik (batik tulis), a fusion of stamped and hand-drawn batik, and handwoven fabrics created using traditional weaving tools. Mrs. Rahayu, equipped with skills acquired through private fashion courses under the guidance of industry experts at the Susan Budiharjo School (Cikini), financed her endeavors independently without any business partners. Notably, her designs remain authentically original, with no replication of other designer products. UMKM Yabunaya Muslim Store has diversified its fabric sourcing, encompassing batik fabrics from Solo, Riau, Madura, Pekalongan, Kebumen, woven fabrics from Troso, Jepara, and sasirangan fabrics from Kalimantan. The store has successfully produced approximately 60 sets of batik, Troso woven fabrics, and sasirangan dresses. Mrs. Rahayu has actively participated in exhibitions and bazaars, maintaining a strong online presence through Google My Business, while also effectively marketing her products on platforms like Instagram, Facebook, and various other social media channels.
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Boateng, Boatema. "Not African? Contested Origins of Wax Print and Its High-Fashion Appropriation." Textile Museum Journal 48, no. 1 (2021): 118–37. http://dx.doi.org/10.1353/tmj.2021.a932829.
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Abstract: In 2017, British fashion designer Stella McCartney’s 2018 spring collection, featuring clothing in prints widely regarded as African, was criticized by commentators as an act of cultural appropriation. Similar criticism emerged two years later when the House of Dior used African prints in its Resort 2020 collection. This was despite the fact that in the case of Dior, the fashion house worked with textile designers in Côte d’Ivoire. Some of the responses to the charges of appropriation included the claim that “African fabric…isn’t African” and noted the Dutch-mediated Indonesian origins of wax prints made for the African market and claimed by many as African culture; they also pointed to the provenance of the fabrics used in both collections in the Dutch corporation, Vlisco (in the case of McCartney), and its Ivorian subsidiary, Uniwax (in the case of Dior). Yet other voices questioned the relative merits of wax prints and handmade indigenous fabrics as markers of “African-ness.” Drawing on media coverage of the two collections and the debates they generated, as well as scholarship on the history of the prints, this article explores the contested origins of these textiles. It considers the labor of African market women in wax print’s aesthetic development, and the cultural contexts and consumption practices that inform its circulation and value in African societies and markets and beyond. Drawing comparisons with the history of handmade kente cloth from the Asante people of Ghana, and practices and values around the consumption and circulation of kente, the article seeks to identify criteria that can guide in responding to the contested origin claims around the prints in the McCartney collection of 2017 and the Dior collection of 2019. Using those criteria, it then examines the claims of appropriation in the specific instances of the two collections and, more generally, in the debates around the appropriation of African textiles.
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Adrian, Kevin, Wilson Kosasih, and Lithrone Laricha Salomon. "WASTE IDENTIFICATION AT FABRIC PRODUCTION LINE IN TEXTILE COMPANY IN INDONESIA." International Journal of Application on Sciences, Technology and Engineering 1, no. 3 (2023): 882–91. http://dx.doi.org/10.24912/ijaste.v1.i3.882-891.
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In the last four years, the price of fabric raw materials has increased globally supported by fluctuations in the price of the Dollar exchange rate causing the costs required by textile companies to increase by 81.97%. Based on production data obtained from the company, product quality decreased by 10.28% from 2019 to 2022. Poor product quality accompanied by increasing costs of production raw materials adversely affect company finances, so this study aims to reduce the costs required in the production process. The cost of this production process can be reduced by reducing the waste that occurs during the production process. To deal with this problem, this research was conducted on one of the textile companies in Indonesia that produces fabric. The research began by identifying the existing waste problem by conducting a special questionnaire survey called waste assessment questionaire (WAQ). The respondents in this survey were three people from the textile company who were responsible for the course of the fabric production process in the factory. The results of this questionnaire were used to model the relationship between the types of waste and the types of waste that occurred the most. The results of data analysis showed that there were four types of waste that significantly occurred, namely idle time by 23.9%, unnecessary processes by 20.7%, waste due to product defects by 20.1%, and waste due to excess production by 18.9%. These four types of waste will be further analyzed to eliminate the waste effectively and efficiently.
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Sanitya Pambudi, Luhur, and Fifiana Wisnaeni. "Pengaruh Kebijakan Pengenaan Bea Masuk Tindakan Pengamanan Terhadap Impor Produk Kain." Jurnal Hukum Magnum Opus 5, no. 2 (2022): 208–21. http://dx.doi.org/10.30996/jhmo.v5i2.6667.
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Abstract
 This study aims to examine the effect of the policy of imposing security measures on imports of fabric products. This study uses a normative juridical research method using secondary data. The novelty element in this research lies in the focus of the discussion which specifically discusses the influence of the policy of imposing security measures on imports of fabric products. The research discussion states that the principles of international trade adopted by the Indonesian state, namely the protection of domestic products, and the imposition of security measures on imports of fabric products, are the embodiment of the principle of trade in the Indonesian state. Based on the results of the study, it was concluded that the effect of imposing additional import duties in the form of security measures through the Minister of Finance Regulation No.55/PMK.010/2020 on the import of fabric products is less effective because it will only burden local entrepreneurs who need material products from abroad. Even though there have been restrictions on the volume of imports of textiles and textile products, so that these inter-ministerial regulations have not been able to synergize, the existence of legal rules regarding the imposition of BMTP makes the Ministry of Finance seem to doubt the Ministry of Trade's policy to suppress imports of fabric products in the free market era.
 Keywords: import duty security measures; cloth; liberalization; international trade
 Abstrak
 Penelitian ini bertujuan untuk mengkaji pengaruh kebijakan pengenaan Bea Masuk Tindakan Pengamanan terhadap impor produk kain. Penelitian ini menggunakan metode penelitian yuridis normatif dengan menggunakan data sekunder. Unsur kebaharuan dalam penelitian ini terletak pada fokus pembahasannya yang secara spesifik membahas tentang pengaruh kebijakan pengenaan bea masuk tindakan pengamanan terhadap impor produk kain. Pembahasan penelitian menyatakan bahwa prinsip perdaganagan internasional yang dianut negara Indonesia yaitu perlindungan produk dalam negeri, dan pengenaan Bea masuk tindakan pengamanan terhadap impor produk kain merupakan perwujudan dari prinsip perdagangan negara Indonesia. Berdasarkan hasil penelitian disimpulkan bahwa pengaruh pengenaan bea masuk tambahan berupa bea masuk tindakan pengamanan melalui Permenkeu No.55 /PMK.010/2020 terhadap impor produk kain kurang efektif karena hanya akan memberatkan pengusaha lokal yang membutuhkan produk bahan dari luar negeri. Padahal telah dilakukan pembatasan volume impor tekstil dan produk tekstil, sehingga peraturan antar Kementerian ini belum dapat bersinergi, dengan adanya aturan hukum mengenai pengenaan BMTP menjadikan Kementerian Keuangan seolah-olah meragukan kebijakan Kementerian Perdagangan untuk menekan impor produk kain di era pasar bebas.
 Kata kunci : bea masuk tindakan pengamanan; kain; liberalisasi; perdagangan internasional
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Wijayanti, Imas Eva, Emia Erliasna, and Solfarina Solfarina. "Comparison of Gravimetric Method with UV-Vis Spectrophotometry for Determination of Reaction Order in Natural Dyes Adsorption Process." J-PEK (Jurnal Pembelajaran Kimia) 8, no. 1 (2023): 27. http://dx.doi.org/10.17977/um026v8i12023p27-34.
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The order of the reaction is the number of concentration factors that affect the speed of a chemical reaction. The reaction order can be used to determine how the adsorption process is in the colouring process based on determining the linear regression equation of the R square value. This study aims to compare the gravimetric method with the UV-Vis spectrophotometric method in determining the reaction order in chlorophyll samples of the natural dye papaya leaves. This study used a quantitative method to determine the value of the reaction order of the papaya leaf natural dye, with data analysis techniques including gravimetric method analysis to determine chlorophyll content, UV-Vis spectrophotometry to determine the value of chlorophyll absorbance and linear regression to determine the order of the reaction. The results showed that the two methods followed first order with an R-value of 0.951 for the gravimetric method and 0.994 for the UV-Vis spectrophotometric method. REFERENCESAisy, G. A. R. (2018). Analysis of the Chlorophyll Content of Papaya Leaf Extract (Upload Papaya L.) Against Extraction Time Variations Using a Hodothermal Extractor. Diponegoro University, (1969), 4–27.Azizah, H. P., & Utami, B. (2016). Utilization of Green Dyes from Papaya Leaves (Carica papaya L.) As a Natural Textile Dyes. UNY National Chemistry Seminar, (October 2016).Fauziah, L., & Wakidah, M. (2019). Extraction of Papaya Leaves (Carica papaya L.) Using Ultrasonic Cleaner. EKSAKTA: Journal of Sciences and Data Analysis, 19(1), 35–45.Khofya, A., & Aji, M. P. (2018). Papaya Leaf Extract (Upload Papaya L.) as a natural dye in batik cloth. Indonesian Journal of Natural Science Education (IJNSE), 1(1), 13–17.Manurung, M. (2012). Mangosteen Peel Application (Garcinia Mangostana L.) As a Natural Dyes on Cotton Fabrics by Pre-Mordanting. Journal of Chemistry, 6(2): 183-190.Matitaputty, J. K., Ufie, A., Ima, W., & Pattipeilohy, P. (2022). Implementation of Education for Sustainable Development (ESD) Through Ecopedagogy in Learning at SMP Negeri 8 Ambon. BUDIMAS Journal, 04(1). http://journal.um-surabaya.ac.id/index.php/JKM/article/view/2203Namirah, I., Affifah, I., Wijayanti, I. E., & Langitasari, I. (2019). Study of Natural Coloring Plants in the Outer Baduy Community. EduChemia (Journal of Chemistry and Education), 4(2), 204.Pujilestari, T. (2015). Review: Sources and Utilization of Natural Dyes for Industrial Purposes Dynamics of Crafts and Batik, 32(2), 93–106. Retrieved from https://media.neliti.com/media/publications/61575-ID-review-sumber-dan-pemanfaatan-zat-warna.pdfRibeiro, M. G. T. C., Costa, D. A., & Machado, A. A. S. C. (2010). “Green Star”: A holistic green chemistry metric for evaluation of teaching laboratory experiments. Green Chemistry Letters and Reviews, 3(2), 149–159.Saputra, B. W. (2008). Adsorption System. 6–21. Tugas Akhir Sarjana. Jurusan Teknik Elektro Universitas Indonesia, Jakarta.Sugiyono. (2011). Quantitative Research Methods, Qualitative and R&D. Bandung: Alphabet.
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Alimin, N. N., E. S. Murni, D. Cahyani, N. Aini, and A. Mulyono. "Fabric scrap interior accessories: A Solution to textile waste in Gulon Asri waste bank community in Solo, Indonesia." IOP Conference Series: Earth and Environmental Science 1114, no. 1 (2022): 012092. http://dx.doi.org/10.1088/1755-1315/1114/1/012092.
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Abstract Indonesia is one of the world’s largest contributors to textile waste. Textile waste is difficult to decompose and takes an extremely long time to degrade safely without polluting the environment. This country has also turned into the world’s second-largest waste supplier. In the interior design sector, clothes are typically used as the primary medium to make textile-based products or upholstery. The interior can use fabric waste into a product with beauty, function, and economic value. This community service project report presents a process of turning textile waste into interior accessory products, such as blankets, carpets, and pillows. To this end, we utilized textile waste as the primary material for home accessories to enhance a house’s aesthetic value. This community service consisted of five stages, four of which have been completed and the final stage is still underway.
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Taufik, Egi Tanadi, Siti Mufidatunrofiah, and Nazifatul Ummy Al Amin. "QUESTIONING THE “KOREAN WAVED” HIJAB STYLE IN INDONESIA: A CONTEMPORARY QUR’ANIC APPROACH." Teosofia 9, no. 1 (2020): 41. http://dx.doi.org/10.21580/tos.v9i1.5365.
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<em>Innovations on hijab have implications for the expansion of its users. Thus it encourages the growth of new identities for hijab which are then expressed by enriching its style, form, color tone, and fabric. The cultivation of hijab throughs the pop-culture of Korea arose and known as the “Korean waved” hijab. This paper has an opportunity to elaborate on hijab’s contemporary progression worldwide. It reflects the Korean pop-culture and identifies the authenticity of the tradition of wearing the hijab in Indonesia. It problematizes the issue of Korean hijab style and how the Quran responds to it. The research framework used a sequential exploratory model henceforth resulting in a scientific response to the phenomenon of Korea's creative industries in the making of an authentic Indonesian hijab model. The results answered the challenges of the vision of "Making Indonesia 4.0" in developing the industrial sector of textile in Indonesia by tracing ethical, aesthetical, and economic modes of hijab.</em>
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Maulana, Jay, I. Made Sarjana, and I. Gusti Agung Mas Rwa Jayantiari. "Harmonization of Import Duty in the Form of Security Measures for Textile Products." Jurnal Magister Hukum Udayana (Udayana Master Law Journal) 12, no. 2 (2023): 242. http://dx.doi.org/10.24843/jmhu.2023.v12.i02.p02.
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This article aims to determine the principles and regulations of international trade and to analyze the regulation for imposing security measures on imports of fabric products. The method used in this study is a normative juridical legal research type, with a statutory approach or statute approach to analyze legal issues. This research finds that the principle of International Trade adopted by the Indonesian state/Government is essentially aimed at protecting domestic products to maintain a healthy trade climate. International Trade is regulated by General Agreement on Tariffs and Trade, General Agreement on Trade in Services, The Agreement on Trade-Related Aspects of Intellectual Property Rights and Dispute Resolution of the World Trade Organization. Furthermore, in regards to the imposition of security measures on the import of fabric products in Indonesia, it is regulated in the Minister of Finance Regulations and its amendments. However, the Ministerial Regulation felt to be contradictory to the Minister of Trade’s Regulation. So, it is considered less effective because it will only burden local entrepreneurs/companies who need material products from abroad, on one hand the volume of imports has been limited and on the other hand there is an additional imposition of import duty as a result of security measures.
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Wahyuningsih, Sayekti, Ari Handono Ramelan, Selfi Handayani, et al. "Quality Analysis of Cloth Masks: Study of Material Types on Physical, Chemical, and Antibacterial Properties." IJCA (Indonesian Journal of Chemical Analysis) 6, no. 2 (2023): 116–23. http://dx.doi.org/10.20885/ijca.vol6.iss2.art3.
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Utilizing personal protective equipment (PPE) is the important requirement for controlling and preventing of Covid-19 virus spread. The awareness of mask-wearing among the citizen and the development of fabric mask testing methods based on Indonesian Standards through the implementation of SNI 7648: Textile – Test of the air permeability on fabric; SNI 20743: The evaluating method of antibacterial properties using biological aerosol S. aureus and E. coli; SNI/ISO 4920: The surface wetness testing. This study shows that we need to understand and choose fabric masks correctlybesides being standardized. Fabric types influence the performance of the mask while protecting the user
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Putri, Aulia Wara Arimbi, Janessa Angelica, and Kirana Kartawidjaja. "PEWARNAAN DAN PEMBERIAN MOTIF ALAMI KAIN CELUP IKAT ITAJIME SHIBORI DENGAN EKSTRAK INDIGOFERA DAN TUNJUNG." Gorga : Jurnal Seni Rupa 10, no. 2 (2021): 541. http://dx.doi.org/10.24114/gr.v10i2.28490.
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The Increase in environtmentally friendly design products especially in fashion created by designers, artist and craftsmen in their work due to global trends and high demand for sustainable design products. Itajime shibori tie dyeing is one of the shape-resist techniques in textile design which usually using natural dyes in its application. The purpose of this research is to describe the process and to analyze the experimental result of natural dyeing and pattern from the combination of indigofera and tunjung extract on cotton silk fabrics with itajime shibori tie dyeing technique. The method used in this research is an experiment on different treatments to determine the after effect from tunjung and indigofera extract dipping which observed as the process of making new variation of dyed tie cloth with itajime shibori technique to obtain color change and pattern formation data using visual observations from soaking cloth in a tunjung solution overnight then in indigofera extract for 15 minutes in 3 stages (every 5 minutes) after that cloth ready for the final dyeing treatments which alternated between tunjung solution and indigofera extract for 1 stage of dipping (1) indigo-tunjung, (2) tunjung-indigo, (3) tunjung-indigo-tunjung, (4) tunjung-indigo-indigo, (5) tunjung-indigo-tunjung-indigo, (6) tunjung-indigo-indigo-tunjung dan (7) tunjung-indigo-tunjung-indigo-tunjung, the process shows there is an effect of color diggerences in stages of cloth dyeing between tunjung solution and indigofere extract from the fabric color from ivory white to light brown and the pattern color which change from dark blue to brownish green on the surface of cotton silk fabric which have the most dipping stage and ended it with tunjung.Keywords: indigofera, itajime, shibori, sustainable, tunjung. AbstrakProduk desain khususnya produk fesyen yang ramah lingkungan semakin marak diusung oleh desainer, seniman dan pengerajin dalam rancangannya karena pengaruh tren global dan juga peminat akan produk sustainable design yang sudah semakin tinggi. Kain celup ikat itajime shibori merupakan salah satu teknik penahan bentuk (shape-resist technique) dalam olah reka tekstil yang biasanya mempergunakan pewana alami dalam pengaplikasiannya. Tujuan penelitian ini adalah untuk mendeskripsikan proses dan menganalisis hasil eksperimen pewarnaan dan pemberian motif alami dari perpaduan ekstrak indigofera dengan larutan tunjung terhadap kain katun sutera dengan teknik celup ikat itajime shibori. Metode yang digunakan dalam penelitian adalah eksperimen terhadap perlakuan yang berbeda untuk mengetahui pengaruh yang ditimbulkan dari efek pencelupan larutan tunjung dan ekstrak indigofera yang diamati sebagai proses pembuatan ragam hias kain celup ikat dengan teknik itajime shibori untuk mendapatkan unsur perubahan warna dan pembentukan motif sebagai komponen data penelitian yang diamati menggunakan pengamatan visual dari hasil perendaman kain dalam larutan tunjung semalaman dengan durasi pencelupan pada ekstrak indigofera selama 15 menit dalam 3 tahapan celup setiap 5 menit yang setelahnya dilakukan perlakuan celup secara bergantian antara larutan tunjung dan ekstrak indigofera selama 1 tahapan celup yaitu (1) indigo-tunjung, (2) tunjung-indigo, (3) tunjung-indigo-tunjung, (4) tunjung-indigo-indigo, (5) tunjung-indigo-tunjung-indigo, (6) tunjung-indigo-indigo-tunjung dan (7) tunjung-indigo-tunjung-indigo-tunjung yang menunjukkan bahwa terdapat pengaruh perbedaan warna dalam tahapan celup larutan tunjung dan ekstrak indigofera mulai dari warna kain berwarna putih gading hingga cokelat muda dan warna motif biru tua menjadi hijau kecoklatan terhadap kain katun sutera pada proses pencelupan yang paling banyak dan diakhiri dengan larutan tunjung.Kata Kunci: berkelanjutan, indigofera, itajime, shibori, tunjung. Authors:Aulia Wara Arimbi Putri : Universitas Kristen MaranathaJanessa Angelica : Universitas Kristen MaranathaKirana Kartawidjaja : Universitas Kristen Maranatha References:Adalina, Y., Luciasih, A., & Andi, R. (2010). Sumber Bahan Pewarna Alami Sebagai Tinta Sidik Jari Pemilu. Pusat Penelitian dan Pengembangan Hutan dan Konservasi Alam: Badan Penelitian dan Pengembangan Kehutanan Departemen Kehutanan. Bogor.Ardana, Arixc. (2020). Budi Daya Indigofera untuk Pewarna Biru Alami Batik. https://www.cendananews.com/2020/05/budi-daya-indigofera-untuk-pewarna-biru-alami-batik.html (diakses tanggal 28 Oktober 2021).Edison, Lampu. (2019). Mengenal 5 Pewarna Tekstil Alami yang Banyak ditermukan di Indonesia. https://kumparan.com/lampu-edison/mengenal-5-pewarna-tekstil-alami-yang-banyak-ditemukan-di-indonesia-1rHSvF3jT8z/full (diakses tanggal 28 Oktober 2021).Handayani, A. P., & Mualimin, A. (2013). Pewarna Alami Batik dari Tanaman Nila (Indigofera) dengan Katalis Asam. Jurnal Bahan Alam Terbarukan, 2(1), 1-6.Kulsum, U. (2020). Sustainable Fashion as The Early Awakening of the Clothing Industry Post Corona Pandemic. International Journal of Social Science and Business, 4(3), 422-429.Lestari, K., & Riyanto, R. (2016). Pembuatan Pewarna Biru Dari Tanaman Indigofera tinctoria. Dinamika Kerajinan dan Batik: Majalah Ilmiah, (21), 7-15.Maziyah, S., Indrahti, S., & Alamsyah. (2019). Implementasi Shibori di Indonesia. Kiryoku Jurnal Studi Kejepangan, 3(4), 214-220.Muhafiz. (2020). Manfaat Tanaman Indigofera, Alternatif Pakan untuk Ternak. https://www.harapanrakyat.com/2020/07/manfaat-tanaman-indigofera/ (diakses tanggal 28 Oktober 2021).Putri, A. W. A. (2021). “Pewarnaan dan Pemberian Motif Alami Kain Celup Ikat Itajime Shibori dengan Ekstrak Indigofera dan Tunjung”. Hasil Dokumentasi Pribadi: 20 Agustus 2021, Bandung.Sholikah, Binti. (2020). UNS Luncurkan Pupuk Organik dari Limbah Pewarna Alami. https://www.republika.co.id/berita/qexuf5368/uns-luncurkan-pupuk-organik-dari-limbah-pewarna-alami (diakses tanggal 28 Oktober 2021).Thomas, Dana. (2019). Fashionopolis: The Price of Fast Fashion and The Future of Clothes. New York: Penguin Press.
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Martuti, Nana Kariada Tri, Isti Hidayah, Margunani Margunani, and Radhitya Bayu Alafima. "Organic Material for Clean Production in the Batik Industry: A Case Study of Natural Batik Semarang, Indonesia." Recycling 5, no. 4 (2020): 28. http://dx.doi.org/10.3390/recycling5040028.
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Batik has become more desirable in the current fashion mode within the global market, but the environmental damage induced by this fabric’s synthetic dye practices is a matter of concern. This study aimed to discuss the application of organic materials as natural dyes in the clean production of textiles to maintain the environment. The research was a case study from the community services program in Kampung Malon, Gunungpati, Semarang City, Indonesia, focused on the batik home industry of the Zie Batik fabric. Furthermore, natural pigments from various plant organs (stem, leaves, wood, bark, and fruit) of diverse species, including Caesalpinia sappan, Ceriops candolleana, Maclura cochinchinensis, Indigofera tinctorial, I. arrecta, Rhizopora spp., Strobilantes cusia, and Terminalia bellirica were used for this type of material. These pigments are more biodegradable, relatively safe, and easily obtained with zero liquid waste compared to the synthetic variants. The leftover wastewater from the coloring stages was further utilized for other processes. Subsequently, the remaining organic waste from the whole procedure was employed as compost and/or timber for batik production, although a large amount of the wastewater containing sodium carbonate (Na2CO3), alum (KAl(SO4)2·12H2O), and fixatives (Ca(OH)2 and FeSO4) were discharged into the environment during the process of mordanting and fixating, with the requirement of additional treatment.
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Firmansyah, Almira. "Designing Digital Color Library as Inventory Media for The Natural Dye of Indonesian Traditional Textile (Study Case: Classical Batik of Yogyakarta)." E3S Web of Conferences 426 (2023): 02156. http://dx.doi.org/10.1051/e3sconf/202342602156.
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Textile coloring using natural colorant has its own unique value on each color results as well as in the color-making creation process itself. In addition to the decorative elements, Indonesian traditional textile also has distinct signature textile culture on its natural dye, for example Batik Klasik Yogyakarta which is well known for its brown soga color, a brownish color obtained from the colorant’s combination of jambal bark (Pelthophorum ferrugineum), tingi bark (Ceriops candolleana), and tegeran wood (Cudrania javanensis). Along with those ingredients, Batik Klasik Yogyakarta also uses indigo plant (Indigofera tinctoria) as its blue colorant and kapur tohor (Calcium Oxide) for pre and post mordant treatment. The designing of “Manékawarna” digital content output as content of mobile application would be a recommendation as it would be a data inventory media of Batik Klasik Yogyakarta natural dye. In order to make the color visual data suitable for digital device, the research requires fabrics dyed with Batik Klasik Yogyakarta natural dye ingredients and technique as samples for color identification study by digitalization method to obtain RGB color value. The natural dye color digital format data is designed to facilitate data preservation and its acquisition by individuals whom have interest on textile natural dye.
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Hartanti, Monica, Erwin Ardianto Halim, Yunita Setyoningrum, Yudita Royandi, and Aulia Wara Arimbi Putri. "Interpretations of Sumbanese Ikat by Instagram Influencers." Jurnal Komunikasi: Malaysian Journal of Communication 39, no. 4 (2023): 104–25. http://dx.doi.org/10.17576/jkmjc-2023-3904-06.
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Ikat Sumba is considered a noble Indonesian traditional textile art because the process of making it is very long, and the motifs are very distinctive with local geographical indications. Influencers create various activities with Sumba cloth by posting feeds on Instagram social media. The impression of fashion affairs on Instagram attracts influencers, brand products, and Instagram users. This research analyses six digital influencers on Instagram as actors who engage with Ikat Sumba. Digital influencers with different backgrounds and characters certainly bring different points of view through pictures and captions on their Instagram accounts about these cultural artifacts. Instagram feeds and captions from Ikat Sumba influencers who produce texts, distribute, and respond will create different interpretations of Ikat Sumba. This research uses descriptive qualitative methods and was analysed in more depth using Norman Fairclough's discourse analysis and supported data by network analysis using ACNA. The findings in this research reveal that Ikat Sumba is a traditional Indonesian fabric art that is not only valuable but also represents love, clothing, and the local community in Indonesia. The interpretation to market the product should present the precious values of Sumbanese ikat as a noble craft that explores narratives of love, clothes, and people instead of showing specific physical details of the textile. Social media influencers influence the creation of interpretations of traditional works of art. This could be the future of Sumba Weaving related contents in Instagram with an informative and attractive appearance to increase the value of Sumba Weaving so that it is more widely known and influence marketing efforts. Keywords: Instagram’s influencer, Interpretation, Traditional Textile Art, Network Analysis, Sumbanese Ikat.
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Syafril, Elsa Putri Ermisah, and Hadara Haqqira Agel. "Eco-print Batik: Eco-Friendly Products of Green Business based on Indigenous Knowledge in Bantul." Proceedings of London International Conferences, no. 8 (December 5, 2023): 54–65. http://dx.doi.org/10.31039/plic.2023.8.166.
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Indonesia has diversity culture, one of them is batik. One of Indonesian batik is eco-print batik in Bantul, Yogyakarta. It is a type of batik that made by using utilizes natural dyes from leaf, root or stem dyes that are placed on a piece of fabric. Eco-print batik is an eco-friendly product and is based on the potential and local knowledge of the local community. Therefore, the objectives of this research are: (1) to explain the existence of eco-print batik in Bantul, Yogyakarta; (2) to explain the process of making eco-print batik in Bantul that eco-friendly products of green business; (3) to identify and strengthen the concept of eco-friendly products of green business based on indigenous knowledge by the case of eco-print batik in Bantul. The research method is qualitative with an ethnographic approach. The data are collected by participatory observation (directly observing the process of making eco-print batik), in-depth interviews, documentation, and document studies on eco-products, especially eco-print batik. The informant of this research are the eco-print batik crafters. Then, the data are analyzed using the Miles and Huberman interactive model analysis. The results of this research, are: (1) eco-print batik is a technique of applying leaves or flowers on a fabric to produce certain (natural) motifs. It was introduced in Indonesia around 2016 and easily accepted by Indonesian textile crafters because Indonesia has strong roots in the tradition of natural dyeing and textile arts (batik process). In 2018, eco-print is increasingly gaining attention and popularity, especially for one of the batik crafters in Bantul with a workshop space, namely Sogga Batik. (2) The process of making eco-print batik uses several techniques, such as pounding, leaf fermentation, and steaming techniques. From the three techniques, Yanti Sogga in Bantul prefers the steaming technique because the resulting color is strong and long lasting. The process is not too long. Moreover, the materials used (input), the process, the product (output), and marketing method in eco-print batik are very eco-friendly because these concern about environmental sustainability. (3) The concept of eco-friendly products of green business based on indigenous knowledge by the case of eco-print batik in Bantul is being the novelty concept, namely the “indigenous eco-friendly product” by strengthening and combining Sommer’s green business components, ILO’s green business elements, and 3R method (go green concept) with indigenous knowledge perspective.
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Syafril, Elsa Putri Ermisah, and Hadara Haqqira Agel. "Eco-print Batik: Eco-Friendly Products of Green Business based on Indigenous Knowledge in Bantul." London Journal of Social Sciences, no. 7 (January 24, 2024): 1–12. http://dx.doi.org/10.31039/ljss.2024.7.165.
Full textAbstract:
Indonesia has diversity culture, one of them is batik. One of Indonesian batik is eco-print batik in Bantul, Yogyakarta. It is a type of batik that made by using utilizes natural dyes from leaf, root or stem dyes that are placed on a piece of fabric. Eco-print batik is an eco-friendly product and is based on the potential and local knowledge of the local community. Therefore, the objectives of this research are: (1) to explain the existence of eco-print batik in Bantul, Yogyakarta; (2) to explain the process of making eco-print batik in Bantul that eco-friendly products of green business; (3) to identify and strengthen the concept of eco-friendly products of green business based on indigenous knowledge by the case of eco-print batik in Bantul. The research method is qualitative with an ethnographic approach. The data are collected by participatory observation (directly observing the process of making eco-print batik), in-depth interviews, documentation, and document studies on eco-products, especially eco-print batik. The informant of this research are the eco-print batik crafters. Then, the data are analyzed using the Miles and Huberman interactive model analysis. The results of this research, are: (1) eco-print batik is a technique of applying leaves or flowers on a fabric to produce certain (natural) motifs. It was introduced in Indonesia around 2016 and easily accepted by Indonesian textile crafters because Indonesia has strong roots in the tradition of natural dyeing and textile arts (batik process). In 2018, eco-print is increasingly gaining attention and popularity, especially for one of the batik crafters in Bantul with a workshop space, namely Sogga Batik. (2) The process of making eco-print batik uses several techniques, such as pounding, leaf fermentation, and steaming techniques. From the three techniques, Yanti Sogga in Bantul prefers the steaming technique because the resulting color is strong and long lasting. The process is not too long. Moreover, the materials used (input), the process, the product (output), and marketing method in eco-print batik are very eco-friendly because these concern about environmental sustainability. (3) The concept of eco-friendly products of green business based on indigenous knowledge by the case of eco-print batik in Bantul is being the novelty concept, namely the “indigenous eco-friendly product” by strengthening and combining Sommer’s green business components, ILO’s green business elements, and 3R method (go green concept) with indigenous knowledge perspective.
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Hendrayanti, Silvia, Wachidah Fauziyanti, and Eni Puji Estuti. "Pelatihan Teknik Ecoprint Sebagai Alternatif Peluang Usaha." Jurnal Abdimas Ekonomi dan Bisnis 3, no. 2 (2023): 53–62. http://dx.doi.org/10.31294/abdiekbis.v3i2.2873.
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Currently, MSME products continue to grow and develop, in fact some types of products are developing very rapidly in line with market demand trends. The textile industry is one of the contributors to the highest amount of waste or rubbish in the world. One of the wastes produced by the textile industry is liquid waste in the form of residual dyes/synthetic dye liquid from the fabric dyeing process which contains several dangerous chemical substances. As time goes by and technology continues to develop, synthetic dyes for textiles have been discovered. Synthetic dyes produce dangerous waste which can cause environmental pollution, such as contaminating the surrounding soil, sediment and surface water. Ecoprint products do have their own uniqueness and appeal. The application of the eco friendly concept, aka environmentally friendly products and their sustainable nature, is attractive to those who support a sustainable and environmentally friendly lifestyle. If many years ago an environmentally friendly lifestyle was popular abroad, now in Indonesia there are also many similar campaigns. This creates very open business opportunities for ecoprint products, both at home and abroad. Entrepreneurial training, especially in the field of ecoprint business management in the RW 08 area, Krapyak Subdistrict, West Semarang District, is a consideration for the Semarang College of Economics Community Service Team to carry out ecoprint product business management training activities so that it can help entrepreneurs, especially mothers and teenagers who have developed businesses. which he has initiated. Activities are expected to be carried out in a sustainable manner so as to have a positive impact on economic development.
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Majid, Abdul, and Widya Dina. "Cultural Studies and Symbolism of Tapis Cloth Motifs in the Culture of Lampung People." Enigma in Cultural 1, no. 1 (2023): 1–4. http://dx.doi.org/10.61996/cultural.v1i1.16.
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The traditional textile art in Lampung, Indonesia, holds significant cultural significance and is imbued with intricate symbolism. The images found on Tapis cloth not only showcase aesthetic appeal but also encompass profound cultural teachings, spiritual values, and symbolism that profoundly influence the lives of the Lampung people. Tapis cloth patterns embody diverse cultural elements such as mythology, spiritual convictions, a symbiotic connection with the environment, ethnic heritage, equilibrium, safeguarding, and the pursuit of prosperity. Tapis fabric serves as a means of conveying ancient narratives, commemorating cultural legacies, and preserving unique cultural individuality.
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Fauzi, Irfandhani, Kahfiati Kahdar, and Slamet Riyadi. "ANALISIS PERSEPSI KONSUMEN UNTUK STRATEGI PENGEMBANGAN PRODUK SARUNG DI IKM SARUNG MAJALAYA." Jurnal Dimensi Seni Rupa dan Desain 16, no. 1 (2019): 75. http://dx.doi.org/10.25105/dim.v16i1.6164.
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<p><strong>Abstract</strong></p><p><strong></strong><br />The Majalaya textile industry, at Bandung Regency, is a textile centre prepared by the government as a national textile centre to meet clothing needs. This industry was able to develop and experience its heyday in the 1960s. At that time, this region was able to produce 40% of the total fabric production in Indonesia. Sarong, as its main product, was very popular throughout Indonesia and several other countries in Asia. But the<br />crisis that occurred in 1998 had a major impact on the textile industry in Majalaya. Many textile entrepreneurs are forced to close their production sites because of the declining purchasing power of the people and also the increasing cost of raw material for production. Only a handful of Majalaya sarong entrepreneurs have survived until now. In the midst of their efforts to survive, the problem that occurs at this time is the onslaught of imported textiles that flooded the market which impacted the sale of<br />Majalaya sarongs falling dramatically.These problems must be overcome with the aim of returning the Majalaya textile industry as the people’s economic power. Design in relation to this is aimed at producing products that are interested in consumers. Design is an important aspect of product development, also as one of the main criteria in the product selection process by buyers. To produce an interesting product it is necessary<br />to analyze consumer perceptions. The purpose is to know what aspects that affect consumer interest in buying products. These can be applied as a strategy for developing a product of Majalaya sarong. The survey method using a questionnaire to Majalaya sarong consumers can be done to determine consumer perceptions of Majalaya sarong products. By analyzing consumer perceptions, producers can develop a Majalaya sarong<br />product design strategy that suits consumer interest.</p><p> </p><p><br /><strong>Abstrak </strong><br />Industri tekstil Majalaya, di Kabupaten Bandung, merupakan sentra tekstil yang disiapkan pemerintah sebagai pusat tekstil nasional guna memenuhi kebutuhan sandang. Industri ini mampu berkembang dan mengalami puncak kejayaannya pada tahun 1960-an. Saat itu, wilayah ini mampu memproduksi 40% dari total produksi kain di Indonesia. Sarung, sebagai produk utamanya, sangat popular di seluruh Indonesia serta beberapa Negara di Asia. Namun krisis yang terjadi pada tahun 1998 berdampak besar bagi industri tekstil di Majalaya. Banyak pengusaha tekstil yang terpaksa menutup tempat produksinya karena daya beli masyarakat yang menurun dan juga kenaikan biaya bahan baku produksi. Hanya segelintir pengusaha sarung Majalaya yang masih bertahan menjalankan usahanya hingga sekarang. Di tengah usahanya untuk bertahan, permasalahan yang juga dialami pengusaha tekstil Majalaya saat ini adalah gempuran tekstil impor yang membanjiri pasar yang mengakibatkan penjualan sarung Majalaya turun drastis.Permasalahan yang dialami industri tekstil Majalaya tersebut harus diatasi dengan tujuan untuk mengembalikan industri tekstil Majalaya sebagai penggerak ekonomi rakyat. Peran desain dalam kaitannya dengan hal ini bertujuan untuk menghasilkan produk yang diminati masyarakat. Desain merupakan aspek yang penting bagi pengembangan produk, juga sebagai salah satu kriteria utama dalam proses pemilihan produk oleh pembeli. Salah satu cara yang dapat dilakukan untuk menghasilkan produk yang diminati adalah dengan menganalisis persepsi konsumen. Hal ini dilakukan karena tujuan dari analisis persepsi konsumen adalah untuk mengetahui aspek-aspek apa saja yang mempengaruhi minat konsumen untuk membeli produk. Aspek-aspek tersebut dapat diterapkan sebagai strategi untuk pengembangan produk sarung Majalaya. Metode survey dengan menggunakan kuisioner kepada konsumen sarung Majalaya dapat dilakukan untuk mengetahui persepsi konsumen terhadap produk sarung Majalaya. Dengan menganalisis persepsi konsumen, maka produsen dapat membuat strategi desain produk sarung Majalaya yang sesuai dengan minat konsumen.</p>
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Ayu Dear Pangesti, Bernadet Cahyanintyas A, Ria Mareta Yulfan, and Tutut Chusniyah. "Social Media Campaign: Thrifting sebagai Pencegahan Limbah Tekstil Fast Fashion." Flourishing Journal 3, no. 1 (2023): 17–21. http://dx.doi.org/10.17977/um070v3i12023p17-21.
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Indonesia is the fourth most populous country, as one of the biggest waste contributors in the world. Textile waste itself has become a serious problem, around 2.3 million tons of fabric waste will be collected in 2021. Therefore, a thrifting campaign has been carried out as an effort to tackle this textile waste. With the hope that thrifting can minimize the amount of existing textile waste. The campaign was carried out on social media for one week by distributing posters about the dangers of fast fashion for the environment and thrifting as a solution to textile waste. This program is evaluated based on the number of likes, number of viewers, and testimonials given by viewers. Based on the comments, it can be seen the target's response to this program. This response is used as material for program evaluation. In conclusion, there are still many people who do not know the use of thrifting for the environment, especially as a reduction of textile waste.Abstrak
 Indonesia merupakan negara dengan penduduk terbanyak keempat, sebagai salah satu penyumbang sampah terbesar di dunia. Sampah tekstil sendiri sudah menjadi permasalahan yang serius, sekitar 2,3 juta ton limbah kain terkumpul di tahun 2021. Oleh karenanya dilakukan kampanye mengenai thrifting sebagai upaya dari penanggulangan limbah tekstil tersebut. Dengan harapan thrifting dapat meminimalisir jumlah sampah tekstil yang ada. Kampanye dilakukan pada sosial media selama satu minggu dengan menyebarkan poster mengenai bahaya fast fashion untuk lingkungan dan thrifting sebagai solusi dari limbah tekstil. Program ini dievaluasi didasarkan pada jumlah like, jumlah viewer, dan testimoni yang diberikan oleh para viewer. Berdasarkan komentar-komentar dapat diketahui respon target terhadap program ini. Respon ini digunakan sebagai bahan evaluasi program. Kesimpulannya masih banyak masyarakat yang belum mengetahui kegunaan thrifting untuk lingkungan terutama sebagai pengurangan limbah tekstil.
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Suliyanthini, Dewi, Riza Wiryawan Jonathan, Siti Nursetiawaty, and Aam Amaningsih. "MODIFICATION RECYCLE JUTE FIBRE WASTE FOR BULLET PROOF VESTS." JURNAL GREEN GROWTH dan MANAJEMEN LINGKUNGAN 4, no. 1 (2014): 1. http://dx.doi.org/10.21009/jgg.041.01.
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This research uses experimental methods to find a formula modifications pure jute (Corchorus capsularis) and Javajute for textile composition strong and resistant to bullets, with the use of resin carbonanotubes (CNT) and tensile strength testing of physical evaluation and test-fired a fabric that can be accounted for laboratory. With methodology Kuantitatif Research and Develipment (R and D). Experiment by processing waste recycling Jute / Javajute into textile products. Jute / Javajute are plants that are often found on the coast of Indonesia, and has not done a lot of processing, it is generally discarded as useless waste. With experimental textile processing, waste jute / javajute be converted into bullet resistant textile products. Long-term goal of this research is to get the right formula in terms of kompisisi fiber, basket type, and CNT resin composition, thereby answering a concern for domestic products and recycling waste back also unearth medium economic enterprises and SMEs in terms of plantation.The experimental results obtained that the tensile strength of jute fabric with or without CNT> 100 kg, and the tensile strength of the fabric javajute without CNTs> 97 kg, Javajute + CNT> 100kg.with Yarn Number Ne 11. Test results using a pistol bullet caliber Revolfer II Internationa Standard Evaluationl (SII), weighs 9 gram bullet diameter of 9 mm bullets, bullet time speed of 341 m / s, Jute cloth + produced CNTs with 32 layers of clay sculpture penetration depth of 12 mm. Jute cloth non CNT 12mm. Cain jute ResinCNT, 3,9kg + 12 mm. Cain jute non CNT 0,7mm. The experiment its goals if onlu 0,4 mm bullet . For comparison in the Army agency, usually the fabric used for bulletproof Highcon types of PET imported products with a very high price. With a composition of 16-32 layers of PET weight between 21.9 to 30 gr. Where is the time of the shooting bullets lodged in the lining of the 11 for pistol caliber II and for rifle bullets lodged in the lining of 23-27. And than eksperiment for bullet vets ptoof FN25 pistol hurahara with sample same its success cannot mannequien body. Until linning 6 for jute CNT and linning 8 sample Jute. Weigth sample jute CNT 2.9 kg 32 linning CNT resin 1%, Weigth sample jute original 2,2 kg 32 linning. This is a succes for pistol level 5.
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Qomariah, Umi Kulsum Nur, Vina Ainul Bashiroh, and Miftachul Chusnah. "Ekspresi Warna Ecoprint Daun Jati (Tectona grandis) Pada Katun Primissima dengan Mordan Tawas, Tunjung dan Kapur." AGROSAINTIFIKA 5, no. 1 (2022): 17–23. http://dx.doi.org/10.32764/agrosaintifika.v5i1.2972.
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The availability of abundant natural materials in Indonesia strongly supports the development of textile products, one of which is natural coloring which can be obtained from natural materials such as teak leaves. Teak leaves contain natural anthocyanin pigments that can be used as environmentally friendly textile dyes. Transfer of pigment to the fabric can be done using the ecoprint technique, which requires a mordant for the color binding process to prevent it from being easily separated from the fabric. The purpose of the research to determine the color expression of teak leaf ecoprints with mordant alum, tunjung and calcium dioxide on primissima cotton fabric and to determine the effect of variations in boiling time during mordanting on the color expression of teak leaf ecoprints. The research was carried out experimentally using the ecoprint steam technique to transfer colors and motifs into the fabric. This study used three types of mordant substances, there are: alum, tunjung and calcium dioxide with each concentration of 50g/l with variations in boiling time for mordanting: 20 minutes, 40 minutes and 60 minutes and three replications in each treatment. The ecoprint technique applied is steaming for 80 minutes. The results showed that the color expression produced by the alum mordant was dominated by yellow, the color produced from the tunjung mordant was dominated by black and the dye produced by quicklime was dominated by brown. The natural motif of teak leaves can be printed well on primissima cotton. The variation of boiling time during mordanting in this study did not produce differences in color expression because there was no variation in the concentration of the mordant substance.
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Admin, Putri Purnamasari, Dwi Nirwana, et al. "Keris Batik Industry Development Strategy to Support Local Economic Growth." Central Community Development Journal 3, no. 1 (2023): 5–12. http://dx.doi.org/10.55942/ccdj.v3i1.321.
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The Keris batik industry is a company engaged in the production and sale of batik fabric. The Keris batik industry produces batik fabrics with both traditional and modern motifs. They are known for their distinctive batik designs and high quality. Keris batik is also renowned for combining Indonesian batik traditions with a modern touch, resulting in products that are in demand both domestically and internationally. This company is also involved in the promotion and preservation of Indonesian batik culture. Keris Batik collaborates with various countries, especially those interested in promoting culture and handicrafts. Countries that frequently collaborate with Indonesian batik producers include Malaysia, Japan, the Netherlands, and several countries in the Middle East and Europe, which are attracted to the beauty and cultural value of Indonesian batik. The Keris batik industry plays a crucial role in developing Indonesia's cultural heritage by contributing to the development of culture where the industry can develop products inspired by Indonesia's cultural heritage such as handicrafts, traditional textiles, and performing arts. This way, the industry not only maintains cultural values but also creates new job opportunities, training, and education. The industry can also integrate modern technology into the production and promotion of cultural products. Moreover, partnerships with local communities ensure that cultural product development is conducted with respect and preservation of traditional values. Such collaborations create a balance between innovation and cultural preservation. Keris Batik adheres to high-quality standards, from the selection of high-quality raw materials, craftsmen’s skills, motif and design selection, safe color choices, quality control, to innovation and development. All these factors combined give Keris batik a unique appeal and value that is not only commercial but also holds deep cultural and social significance for both the Indonesian community and the world. The research findings indicate that a growth strategy is necessary to develop the batik industry. The expected development strategy aims to enhance competitiveness in production related to local economic growth by leveraging creativity and modern technology, which play an essential role in the development of the Keris batik industry.
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Adjani, Syifa Mahala. "Wastra Batik As A Fashion Interest Among Generation Z In The Community Of Remaja Nusantara (2023)." Santhet (Jurnal Sejarah Pendidikan Dan Humaniora) 8, no. 1 (2024): 280–85. http://dx.doi.org/10.36526/santhet.v8i1.3447.
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This research investigates the interest of Generation Z in batik textiles as a fashion element within the Nusantara Youth Community in Jakarta. Batik textiles are perceived not only as a fashion statement but also as a medium for expressing cultural identity. Generation Z, growing up in the digital era, integrates batik textiles with contemporary fashion trends. Each batik fabric possesses unique features and symbolism reflecting Indonesian culture. The Nusantara Youth Community, established in 2020, strives to preserve batik textiles through various activities and campaigns. The study employs an ethnographic approach, focusing on interactions within the community, revealing that Generation Z in Jakarta has a strong inclination towards batik textiles. The research aims to identify the aesthetic values driving their interest and to understand the effectiveness of the community's preservation campaigns. Findings indicate that Generation Z incorporates batik textiles into their fashion choices, influenced by both aesthetic appeal and cultural resonance. While the Nusantara Youth Community plays a role in this trend, a cultural understanding gap was identified that requires addressing. Overall, the research provides insights into the cultural fashion interests of Generation Z and the aspirations of the new generation towards cultural heritage.
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Ningrum, Dian Pintoko, Aditya Rahman Yani Synakarya, and Aileena Solicitor Costa Rica El Chidtian Synakarya. "PERANCANGAN BUKU ENSIKLOPEDIA “WASTRA NUSANTARA: WARISAN BUDAYA INDONESIA” SEBAGAI MEDIA EDUKASI TERHADAP REMAJA DEWASA USIA 18-24 TAHUN." SYNAKARYA Visual Communication Design Student Journal 4, no. 1 (2023): 57–76. http://dx.doi.org/10.33005/synakarya.v4i1.79.
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Indonesia has a wealth of archipelago literary heritage that has existed since the days of its forefathers. With its sacred motifs, wastra was originally used as oversized clothing that was only worn on certain occasions. In this modern era, the use of textiles has certainly experienced a shift towards a more modern direction as well. Many of the younger generation are starting to echo the 'wearing' movement as a form of their love for and preservation of literature. However, most of them do not know the types and meanings of literature in Indonesia. Therefore, the design of this encyclopedia book is here to be an educational alternative for the younger generation about what wastra is and the true meaning of wastra. In the design process, three stages of the method were used, namely the preparation stage, the design stage, and the evaluation stage. In these three stages, the involvement of the target audience, namely the younger generation of literary activists, also contributed by the presence of several samples to provide insight about literature and reading interest of the younger generation. All elements in the book are adjusted accordingly to the insight given by the sample. With this book, it is hoped that it will be the best alternative for the younger generation to understand the meaning of wastra for the Indonesian nation. Fabric trends can be a container for the preservation of wastra in a modern format, but it should be remembered that we must also understand what the true meaning of wastra is for the Indonesian nation.
 Keywords: Cultural Heritage, Wastra, Encyclopedia