Tag Archives: DISTRO




Jln. Tole Iskandar no 2 ,Sukamajaya,Depok 16412 (Tempat tinggal)

BBM : 590A2488

Email : cannizarodistro@yahoo.com|cannizarodistro@gmail.com


CANNIZARO clothing & konveksi adalah sebuah Small Industries Garment Manufactures salah satu group dari ‘cannizaro clothing & distro’ terletak di DEPOK.Saat ini kami memproduksi produk-produk pakaian untuk clothing distro maupun perusahaan. Produk yg dibuat seperti kaos, kemeja, sweater, jaket, dan celana kami menawarkan kerjasama terhadap clothing company untuk mencoba dan memproduksi produk clothingnya di tempat kami, selain produksi untuk clothing industries kami juga menerima pembuatan order untuk kaos kelas,jaket kelas, ataupun jaket seragam perusahaan.

Jenis Jahitan yang dapat dipakai di tempat kami jahitan Rantai

Penjahitan Kumis (jenis jahitan yang berbentuk mirip seperti obras yang biasanya diletakan diluar) .

jenis Bahan untuk kaos yang bisa dipakai di tempat kami

  • – Combed 20s
  • – Semi combed 20s
  • – Cardet 24s
  • – Misty CVC
  • – CVC 20s
  • – Double TC
  • – Lacoste 20s
  • – TC
  • – PE

Jenis Bahan untuk Jaket, Celana Yang bisa dipakai ditempat kami

  • – Baby Teri
  • – Drill
  • – Korduroy
  • – Fleece Katun
  • – Adidas
  • – Fleece Dor
  • – Ripstock
  • – Taslan
  • – Katun teteron (bahan kemeja)

Jenis Sablon yang bisa dipakai di tempat kami

Sablon Rubber

  • Sablon Pigmen
  • Sablon Timbul (foam)
  • Sablon Separasi
  • Sablon Glow in the Dark
  • Sablon dengan menggunakan Glitter
  • Sablon Foil
  • Sablon Plastisol
  • Sablon High Density
  • Sablon High Frequency
  • Sablon Aspal
  • Sablon Discharge
  • Sablon Beludru (flocking)

Keterangan sablon

1. Harga sablon foil,separasi ditentukan dari design dan ukuran.

Keterangan bordir

  • CANNIZARO Konveksi menggunakan Bordir komputer

     Bordir hanya dapat dilakukan dengan jumlah pemesanan diatas 2lusin (dikenakan biaya program, biaya ditentukan kemudian).

    . Untuk pemesanan 5 lusin keatas Biaya program gratis.

  • Pembuatan Sample

  •  Pihak CANNIZARO tidak mengharuskan pemesan melakukan sample terlebih dahulu.
  • Biaya pembuatan sampel dengan jumlah order 2-4 lusin biaya pembuatan sampel untuk kaos Rp 90.000 dan jaket Rp 160.000 per piece (dengan catatan pesanan sudah ditetapkan jumlah yg ingin dibuat /tidak menerima pembuatan sample saja).
  • Biaya pembuatan sampel dengan order 4-6 lusin untuk kaos Rp 75.000 dan jaket Rp 150.000 per piece (dengan catatan pesanan sudah ditetapkan jumlah yg ingin dibuat /tidak menerima pembuatan sample saja).
  • Lama pembuatan sampel 10 hari sejak datangnya bahan.
  • Biaya pembuatan sampel GRATIS apabila pengorderan diatas 6 lusin.
  • Biaya pengiriman dan pengembalian sampel ditanggung oleh pemesan.
  • Sampel dinyatakan siap untuk produksi apabila sampel telah dikembalikan kepada pihak CANNIZARO. dan sampel akan dikirimkan kembali oleh pihak CANNIZARO kepada pemesan apabila proses produksi sudah selesai.

Keterangan untuk Complain

1. Barang tidak dapat diganti apabila barang yang diorder belum dikembalikan dan dicek terlebih dahulu oleh CANNIZARO.

2. Dalam pengembalian barang pemesan memberikan penjelasan kenapa barang tersebut tidak sesuai dengan pengorderan.

3. Biaya pengiriman barang complaint dari pemesan ke CANNIZARO ditanggung oleh pemesan. Biaya pengembalian barang complaint dari CANNIZARO ke pemesan ditanggung oleh CANNIZARO

4. Pengembalian barang paling lambat 7 hari terhitung 1 hari setelah barang diterima pemesan. Lebih dari 7 hari maka barang tersebut dinyatakan sesuai dengan pengorderan.

5. Pengembalian barang yang telah diorder tidak dapat ditukar kembali dengan uang.

6. Bagi pengorder yang tidak melakukan proses pembuatan SAMPEL terlebih dahulu, CANNIZARO tidak bertanggung jawab atas kesalahan produksi yang terjadi.

Peraturan dan Cara Pemesanan

1. Order dilakukan dengan cara mengirimkan model gambar dalam format COREL atau photoshop via email ataupun langsung.

2. Untuk clothing company harap mengirimkan label clothing-nya terlebih dahulu

3. DP minimal 50 % dari jumlah total order

4. Waktu produksi 30 hari dari diterimanya DP.

5. Barang bisa diproduksi setelah DP ditransfer oleh pemesan.

6. Pembayaran dilakukan melalui rekening Bank BCA atas nama Ferdinand Krisdianto cabang Raden Saleh Depok.

7. Pembayaran juga dapat dilakukan melalui rekening Bank Mandiri atas nama Ferdinand krisdianto KCP margonda depok .

8. Pelunasan dari pemesan dilakukan sebelum order dikirim atau diambil, baik secara langsung (datang ke tempat produksi) ataupun ditransfer ke no rek yang ditentukan diatas .

9. bagi yang berminat, desain kaos atau jaket bisa juga dibuat oleh kami dengan biaya Rp. 175.000- Rp. 350.000

10 .Menerima pembuatan label atau merk (dileher atau di lengan) bagi yg belum mempunyai label, minimal pemesanan 300 lusin/design ..harga per lusin Rp.2000-4000/lusin ( tergantung design)


Distro [english version]

moves from margins to mainstream


Clothes may maketh the man, but after glancing down Bandung’s famous clothing strip, I would argue they also make the economy. Today ‘Jeans Street’, or Jalan Ciamplas, is more crowded than ever. But pitching to a youth market, which has a sensitive barometer for what is ‘in’, is not as easy as it might seem.

The mushrooming of distro, or independent fashion outlets, throughout Indonesian metropolitan centres shows that sometimes the best people to satisfy the youth market are young people themselves. But have the original reasons for distro been lost to capitalism and competition?
Collectivism and creativity

Distro is a shortening of the Indonesian word distribusi, or distribution. Generally distro differ from other youth fashion outlets by their links to the independent music industry, the age of those involved, and collective ownership styles.

In 1993, a few die-hard music fans set up a music studio in Bandung known as Reverse. This studio was also one of the first to sell international and local indie (independent) band merchandise including t-shirts, hooded jackets, cassettes and posters. A pioneer distro, Reverse mapped out the format that many independent fashion outlets were to follow.

Distro provide a vehicle for creative collective members to market and disseminate their talents. Promoting artistic licence over profit margins, distro do not source stock from factories. Instead most have their own in-house labels with all goods made in small runs. Originality and scarcity are selling points.

Cooperation marked the birth of distro, and to a certain extent it is still evident today. Lined up alongside the distro’s own merchandise are products made by friends also in the clothing game. Staffing is usually a collegiate arrangement with members working in shifts to keep overheads down. Profits are split in proportion to capital investment in the store.

Distro size and scale is as varied as the size and shape of the wallets behind them. One of the first distro I went to was Bandit. A punk hangout, Bandit was just a glass cabinet covered by a tarpaulin with two rickety benches, right next to a McDonald’s garbage skip. These days most are housed in converted garages or small shop fronts.

Distro are a contrast to Indonesia’s mall epidemic. Multi-level malls are vast expanses of bright and shiny marketing providing the shopper with a clean, air-conditioned opportunity to spend. In comparison, distro are cramped by low ceilings and are filled to the brim with merchandise stocks. Posters and stickers cover all available surfaces. Graffiti scars the walls. In Jakarta, one distro advertises its location with a burnt-out, spray-painted van parked in front of the store.
Underground beginnings

Distro originally developed from the do-it-yourself ethic of the underground music community. However, they soon evolved into a forum for exchanging news about developments in the music scene.

In the early nineties, before the internet was easily accessible, dedicated fans could only gain information from overseas through mail order. As a result, underground music news had very limited circulation. I remember the frustration when a much-awaited newsletter would be sent wayward in Indonesia’s temperamental postal system. Distro filled this void by providing a central point where information and music could be swapped and shared.

In this embryonic stage, political aspirations were rarely expressed overtly. The repressive nature of Suharto’s New Order government meant that rebellious, anti-establishment political views were best whispered, rather than yelled.

Amid the popular discontent of 1997, however, the group behind Riotic Distro broadened discussion to include politics. Riotic was the first Bandung distro to become a hub for political agitation within the punk subculture. Its publications sub-division, Riotic Papers, produced Submissive Riot, the first Bandung zine to debate social and political issues instead of purely music. Submissive Riot was followed by the equally political Harder, published by Harder distro. The Counter-Culture Collective also agitated for change, using distro networks to propagate anarchistic literature.

At the peak of the radical punk movement in Bandung between 1999 and 2000, distro served as the spot for midnight meetings to plan demonstrations and rallies as radical punks formed the aggressive frontline of demonstrations about human rights, workers rights, food subsidies and other issues. The placement of distro on main thoroughfares kept them away from neighbourhood surveillance and the control of urban village officials.
Going mainstream

In 2003, however, distro underwent a rapid shift. One of Bandung’s clothing and accessories distro, 347, exploded onto the fashion scene. Wearing the 347 label suddenly became the funkiest trend among Bandung’s fashion conscious. It was the first time a distro had moved outside its underground niche and captured a mainstream market.

The crew behind 347 were from upper middle-class families and had more capital at their disposal than most of their forerunners. This capital, and a clever combination of marketing, attractive packaging, high quality design, good fabrics and screen printing, was 347’s strength. Very quickly its products matched those of international street and surf wear brands, although without the prohibitive price tag.

Taking millions of rupiah a day, the store soon became well-known throughout Indonesia. 347 has even penetrated markets abroad. Hot on the heels of 347’s success, distro began appearing throughout Indonesia – in Jakarta, Yogyakarta, Malang, Semarang, Surabaya, Bali, Makassar, Medan and Lampung. There are now over 200 distro in Bandung alone.

This success means that distro are no longer hidden from mainstream view. Where once they were a place for underground music sub-cultures and the politically disenfranchised to share ideas away from the scrutiny of society, they now vie for strategic space close to city centres, shopping malls, high schools, and universities. It is not uncommon for a distro to be a popular after-school hangout.

In Bandung, distro are even beginning to out-compete the city’s famous fashion outlets for the youth fashion market. Foreign labels are now being shunned in favour of locally designed and produced clothing and accessories.

Distro über cool is not limited to clothing. What’s ‘in’ is broad in definition and covers everything from clothes and accessories to cassettes, CDs and posters. Any respectable distro offers a selection of all of the above, but with affordable prices that mock the efforts of their large-scale competitors.

Continuing links to the underground music scene mean that these days many of the larger distro have a department that produces music. This scenario provides a means for independent bands to release music, while at the same time avoid the drawbacks of the commercially-orientated recording industry. In an elegant symbiosis, the resulting album is then sold through the distro networks. Key indie labels that have grown from distro include Riotic Records (from Riotic distro) and Flatspils (from 347 distro).

This cooperation can also extend to band merchandise. Bands will request distro to design and sell band t-shirts. In return, band members will wear distro-designed t-shirts during gigs.
Commercial orientation

Yet the increased popularity of distro has resulted in a shift in the orientation of many distro from an ideological one to commercial one. In recent times, entrepreneurially-minded individuals have also set up distro as profit-making enterprises rather than creative collectives. Distro now market their t-shirts, wallets and backpacks to the fashion-conscious. They have also lost the political potency that characterised early distro. Instead of facilitating revolutionary meetings, distro are more likely to use their strategic placement to host Saturday night street-side gatherings.

With increased competition, less flexible and imaginative distro failed. The survivors are more commercially savvy and have learnt the importance of self-promotion. Distro now hand out free items such as stickers, badges, and posters at concerts and gigs. At a recent hip-hop gig in one of Bandung’s sports halls, I became the proud owner of three new key rings, all from newly established distro.

Many distro also advertise in the larger, more widely distributed glossy independent print media publications such as Ripple Mag, Suave, and D!!Side. Some of the larger distro are even sponsoring timeslots on local radio, holding quizzes and hosting local indie bands.

Some elements of the original collective ideology of distro remain, such as information sharing and fostering local music. Many websites are devoted to information and tips on setting up a distro or fashion label. Distro-run forums and blogs (web-based diaries) are used for networking and advertising other distro and labels. Forum members can also post information about gigs and events that their store has organised.
Costs of success

From humble beginnings, distro are making a significant impact on the youth fashion industry. But has this success come at a cost? When 347 first became successful, many of the people behind distro collectives explained to me they felt the distro scene had been ‘sold out’. They felt the original anti-capitalist push behind distro had been betrayed.

Indeed, discussion of fashion, promotion and sales now dominate the conversations held over distro counters, discussions that used to focus on political ideology and mechanisms for social change. Political resistance is almost entirely absent from the distro of today.

Yet despite recent changes to distro and ownership styles, they continue to be created by young people for young people. The design and sale of goods provide a creative outlet for young designers, and allow young shoppers to determine, create and exhibit their take on fashion. They also provide an opportunity for local bands to gain a foothold in the notoriously cutthroat music industry. Distro undoubtedly remain a meaningful place for the creation and direction of Indonesia’s youth culture.

Uttu (satanarchy2001@yahoo.com) is a fervent pop culture aficionado. He runs a distro in Bandung.


Tinta diatas bahan kaos terdiri dari 2 jenis tinta, yaitu tinta yang berbasis air atau waterbase inks dan tinta yang berbasis minyak atau solvenbase. Tinta solvenbase sering disebut dengan istilah plastisol.JENIS CAT WATERBASE:
Tinta ini digunakan khusus untuk sablon diatas kain gelap. Sebab tinta ini bersifat pekat, dapat menutup permukaan warna kain dengan baik. Tinta rubber umumnya digunakan untuk underbase, underbase sendiri difungsingkan sebagai penutup warna kain sebelum penyablonan warna-warna diatasnya. Tinta rubber sendiri dibagi menjadi dua jenis untuk dua fungsi kegunaan. Jenis pertama adalah tinta rubber white yang digunakan untuk underbase/dasar, bisa juga digunakan untuk mendapatkan warna-warna pastel/muda. Jenis kedua adalah rubber color yang digunakan untuk pencampuran warna-warna tua. Untuk mendapatkan warna putih yang bersih dan cemerlang, campurkan tinta rubber white dengan sedikit pigmen/pewarna berwarna nila atau ungu.
Umumnya disebut dengan coating, karena dapat difungsikan sebagai pelapisan hasil sablon, sehingga hasil sablon lebih cemerlang atau mengkilap. Tinta ini memiliki bentuk seperti tinta extender yang transparan, tetapi memiliki kandungan yang lebih kuat atau lebih keras. Tinta ini baik sekali untuk teknik penyablonan separasi empat warna dengan terlebih dahulu memberikan rubber white pada permukaan bahannya.CAT EXTENDER:
Tinta in bersifat transparan, hanya cocok untuk penggunaan diatas bahan putih atau bahan-bahan berwarna terang. Sifat dari cat ini adalah menyatu/menyerap pada bahan.

Tinta ini hampir sama jenisnya dengan tinta rubber, terdiri dari dua jenis yaitu white dan color. Tinta ini sifatnya lebih mendekati tinta extender yaitu menyatu dengan bahan dan transparan, serta dapat disablon diatas dasar bahan berwarna gelap.

Tinta ini terdapat pada kedua jenis tinta baik underbase maupun plastisol. Tinta ini memerlukan pemanasan yang akan mengakibatkan tinta ini mengembang dengan efek timbul.

Tinta ini berbahan dasar PVC dan harganya cukup mahal serta membutuhkan peralatan khusus untuk pengeringannya. Sebab tinta ini tidak dapat kering dengan sendirinya seperti tinta waterbase pada umumnya. Untuk dapat kering dengan baik, tinta ini memerlukan suhu mencapai 160 derajat celcius serta membutuhkan beberapa peralatan seperti conveyor curing dan flash curing. Setelah pengeringan dengan benar, tinta plastisol ini memiliki daya rekat yang sangat baik. Tinta ini sering digunakan untuk menciptakan efek-efek yang menakjubkan seperti high density. Dan t-shirt yang menggunakan tinta plastisol selalu diberi peringatan “Do not iron on design”, sebab tinta ini akan meleleh jika terkena panas secara langsung dari setrika.

Tinta ini berbentuk transparan, bersifat seperti extender pada tinta waterbase. Sebab tinta ini hanya baik digunakan pada kain berwarna putih atau terang.

Tinta ini mempunyai sifat seperti rubber dalam waterbase, hanya saja tinta ini mempunyai daya tutup yang lebih baik pada permukaan bahan jika dibandingkan dengan tinta rubber. Tinta ini dapat digunakan untuk teknik high density.

Tinta ini bersifat lentur atau elastis sehingga sangat cocok untuk penyablonan diatas kain polymesh, spandex atau kain dengan motif berlubang-lubang.

Berjenis plastisol, tinta ini dapat digunakan untuk teknik high density yang akan menghasilkan efek seperti busa atau gabus. Tinta ini memiliki kelenturan dan fleksibelitas yang tinggi sehingga cukup baik untuk penyablonan diatas bahan yang memiliki kelenturan tinggi seperti bahan Spandek dan Rib. Tinta ini juga tidak diperbolehkan untuk di dry clean, bleach atau disetrika.

Tinta dari jenis plastisol ini diformulasikan untuk menghasilkan warna seperti metalik. Tinta ini berbentuk pasta dan siap pakai. Tinta ini sangat baik digunakan untuk heat transfer, baik itu cold peel maupun hot peel. Sangat baik digunakan pada kain knitting, cotton, polyster dan rayon. Tidak disarankan untuk pemakaian pada kain jenis nylon atau lycra.

Tinta yang bersifat transparan, tinta ini menghasilkan efek sablon yang mengkilap dan terkesan basah.

Tinta plastisol transparan yang tidak terlihat dengan sinar lampu biasa, akan muncul jika terkena sinar ultraviolet.

Tinta plastisol yang menghasilkan efek kulit yang sangat lembut.

Bubuk yang diformulasikan untuk menimbulkan kesan berkelip-kelip, serta memiliki tampilan yang glosy. Untuk mencetak bubuk ini, sebelumnya harus mencetakkan tinta plastisol sebagai dasar sekaligus sebagai perekat bubuk ini.

Aluminium foil dalam bentuk lembaran seperti kertas. Selain warna silver dan gold, foil juga tersedia dalam macam warna dan motif. Untuk media tempelnya foil ini membutuhkan lem khusus.

Teknik sablon yang menghasilkan efek cetakan seperti beludru. Terdapat dua jenis flock, bubuk dan lembaran. Untuk lembaran membutuhkan lem khusus sebagai media perekatnya.

Aplikasi sablon yang berbentuk bubuk transparan mirip gula pasir.

Berbentuk serbuk yang menyerap dan memantulkan sinarnya kembali didalam ruangan gelap.

Serbuk yang dapat memantulkan sinar jika terkena cahaya lampu atau sinar matahari.

Adalah bahan kimia yang digunakan untuk mencabut warna dasar kain, sehingga warna bahan menjadi putih/grey. Dan untuk mendapatkan hasil yang maksimal, bahan pewarna  kainnya harus dipilih dengan yang dischargeable.

Teknik inovasi grafik dengan membuat tekstur sehingga gambar terlihat pecah-pecah dan terlihat usang/kuno.

Jenis tinta untuk menciptakan kesan pecah (crack). Tinta ini diciptakan agar mudah pecah saat mengering dan untuk pengeringan membutuhkan flash curing.

Teknik high density menggunakan tinta rock base untuk menghasilkan cetakan dengan permukaan kasar seperti batu.

Gambar yang dicetak diatas kertas transfer, yang kemudian ditransfer ke kaos menggunakan hotpress. Sublimation transfer umumnya terbagi dalam menjadi dua jenis, hot peel dan cold peel.

Gambar yang diprint diatas kertas transfer.

Kertas transfer yang berisi gambar jadi dengan berbagai jenis pilihan. Jenis cold peel ini jika diaplikasikan diatas kain kaos akan menghasilkan tekstur seperti tinta rubber, dan dapat diaplikasikan diatas dasar bahan terang maupun gelap. Sebab dalam pembuatannya cold peel menggunakan tinta plastisol.

Aplikasi yang digunakan untuk dekorasi dalam garmen, mempunyai beragam nama sesuai dengan bahan yang digunakan, anatara lain nailheats, rhinestones dan swarovski crystals. Cara pengaplikasiaannya hanya dengan memanaskannya dengan mesin hot press pada suhu 160 derajat celcius selama 10 detik.

Proses aplikasi menggunakan mesin high frequency, seperti aplikasi plastik PVC diatas kain.

Aplikasi yang menggunakan mesin press tekanan tinggi untuk menciptakan hasil emboss diatas bahan.

Sumber: Basic Screen Printing for T-Shirt, Benny Setiawan Rahardj

Obin: Handmade gems, but don’t use the ‘e’ word

Sunday, November 02, 2003
Hera Diani, The Jakarta Post, Jakarta

There is always a treat in store at the fashion shows of noted cloth designer Obin. Aside from the expected array of beautiful traditional cloth and the tasty spread of local cuisine served before the show, there is quirkiness and theatricality in the presentation.
Last week’s show included child singer Tina Toon strutting down the 40-meter catwalk connecting two stages, doing her version of the “drilling” dance moves of popular singer Inul Daratista.
What distinguishes Obin’s show from other “look-at-me” local fashion presentations is that the combined effect of a plump 10-year-old girl performing a very adult dance, the stage props and the models’ theatrical moves never seemed forced or pretentious.
All of it came together to highlight the real star of the show — the stunning cloth, all of which is handmade.
Derived from traditional sources, the cloths are woven, embroidered, stitched-dyed, tie-dyed, smocked and ripped, before Obin’s BIN House turns them into excellent sets for women, men, bridal and kids.
The latter was the reason Tina was on stage in the first place.
“I want to reject the sense of wearing (traditional) cloth, that it’s not merely for occasions like a wedding party. It doesn’t mean that it’s a drawback for us (to wear it), it aims at going back to our habitat, our culture,” Obin, or Josephine Werratie Komara, told a media conference prior to the show.
In her own everyday wear of kebaya (traditional blouse) and kain (cloth wrap), the 48-year-old master of batik and other indigenous textiles said she felt offended when her compatriots called her style “ethnic”.
“Ball gowns or tuxedo are considered classic, but why is the kebaya called ethnic? If foreigners call it ethnic, fine. But it’s strange when Indonesians call it the same. Because this outfit is classical Indonesian,” said Obin, who has been working with traditional cloth since 1975 and whose boutiques are found in Japan, Taiwan, Singapore, Hong Kong and the Netherlands.
In a less colossal presentation than last year’s, the show called Matahati (conscience) brought to the stage some 200 sets of clothes, made up of around 600 pieces of 300 different types of cloth.
If last year’s collection consisted of stonewashed jeans, poncho blouses and bustiers aside from the mainstay kebaya, this year’s women collection weighed in with a more elegant assortment.
It consisted of old-school kebaya, cheongsam and their modification, as well as contemporary gowns.
There were blouses inspired by the Balinese classical kebaya, while another derived from Javanese or even European style, with ruffles on the wrist and along the collar and front.
Obin also took some inspiration from Muslim dress, as well as more contemporary fashion applied in long tube dress, or evening gowns.
Some outfits followed the curve of women’s bodies, but others were straight or even asymmetrical in cut. The motifs were stripes, geometrical, floral or plaid.
Obin and her main designer Cita never follow a particular fashion trend, as Obin said being fashionable was far more important than fashion.
“It will last longer,” she said, emphasizing that all of the handmade designs were “made with heart, by workers that are more deserving of being called artisans.”
All of the dresses were accompanied by shawls, which are modified from traditional batik to ikat weavings or jumputan dye. Some shawls were a combination of different techniques, looking like patchwork, drapery or even wool.
They all came rich in motifs, texture and colors, the latter earthy and natural — bottle green, purple, brown, red and all — and carefully and beautifully combined. A standout was a baby pink kebaya with aquamarine scarf, mixed with matching kain, for a very pretty effect.
As for the men’s collection, the main inspiration was baju koko Muslim dress, with the modification in the details, such as the side pocket or the collar — Chinese style or asymmetric.
“We also just come up with a new technique, making long trousers from handwoven cloth. After six years observation, only now have we succeeded in making creased and neat trousers,” Obin said.
Although she has been producing wedding dresses for years, the show last week was the first to include a bridal sequence.
The collection comprises an all-white wedding dress, made up of different styles: Kebaya, cheongsam and Western-style wedding dress. There was also one design that was accompanied by a burqa-inspired veil, very elegant and beautiful.
The show also marked the launching of a kids and teens collection, ranging from two years to 17.
The children looked very cute in fluffy dresses, tunics, spaghetti strap dresses or even the kebaya and kain.
The latter idea, according to Obin, came as she found quality ready-to-wear children’s collections expensive, although it is doubtful that her excellent designs will be cheaper.
The main purpose is to familiarize the younger generation with traditional cloth.
“Traditional cloth is very good in quality, very old and very rich. Parents will not have to worry that children will not be comfortable wearing it. All of my children have been wearing kain since an early age, it’s fine,” she said.
“Today’s children won’t be familiar with traditional cloth when they grow up. But it’s not too late to introduce them to it now.”

Digital T-shirt: Sublimation

Digital T-shirt: Sublimation
Jenis Tinta:
Khusus sublime

Inkjet (epson)
1. HVS –> boleh aja
2. Inkjet –> banyak yg pakai
3. kertas khusus sublimation –> paling bagus

1. Design
2. Print terbalik (mirror) di kertas
3. Letakan di atas kaos (warna terang dan mengandung polyester) gambar menghadap kaos.
3. Press dgn mesin heat press (200-250 derajat, 40-50 detik)
1. Proses cepat, mudah, gak ribet
2. Warna cerah million colors.
1. Hanya bisa di kaos yg mengandung polyester (PE, TC, polycotton, silk, satin). –> ini banyak yg kurang suka dgn jenis bahannya.
2. Warna akan semakin cerah jika mengandung polyester 100%. –> kaos makin panas.
3.Hanya bisa di kaos warna terang. –> tdk ada tinta warna putih.
Target market:
Efektif utk kaos rombongan (tour), even2 kantor, kelompok anak2 sekolah, dsb yg tdk mengutamakan personal touch. Biasanya market perorangan banyak yg complain mengenai kualitas bahan kaos.

Tutorial Foil (Gold/silver) by NARARYA KASKUS

01. Design
Design Kemudian eksport ke *.eps dgn posisi mirror.

02. Cutting
Import ke software cutting dan potong dgn mesin plotter.

03. Screen
Lepaskan backing paper, rekatkan pada screen (gunakan bantuan masking tape utk mempermudah pengerjaan). Lihat pembuatan screen pada tutorial flock.
Tutup bagian yg tidak kita inginkan dgn menggunakan selotip kertas.

04. Glue
Letakan screen menghadap kaos. Tuangkan lem sablon (glue). usahakan merata.

05. Rackle
Sapukan secara merata menggunakan rackle. Tekan agak kuat tapi jangan terlalu kuat. Hati2 screen sobek.

06. Angkat screen
Angkat screen perlahan2. Usahakan tidak menggeser gambar.

07. Foil
Setelah lem benar2 kering. Letakan kaos di atas mesin heatpress. Tutup gambar dengan lembaran foil (sesuai besarannya). bagian yg mengkilap menghadap ke atas.

08. Heat press
Gunakan mesin heatpress pada suhu 130 derajat dengan waktu 15-20 detik.

09. Peel
Tunggu sampe dingin. Cabut lembaran foil perlahan2.

10. Finished
01. Design
Design Kemudian eksport ke *.eps dgn posisi mirror.

02. Cutting
Import ke software cutting dan potong dgn mesin plotter.

03. Screen
Lepaskan backing paper, rekatkan pada screen (gunakan bantuan masking tape utk mempermudah pengerjaan). Lihat pembuatan screen pada tutorial flock.
Tutup bagian yg tidak kita inginkan dgn menggunakan selotip kertas.

04. Glue
Letakan screen menghadap kaos. Tuangkan lem sablon (glue). usahakan merata.

05. Rackle
Sapukan secara merata menggunakan rackle. Tekan agak kuat tapi jangan terlalu kuat. Hati2 screen sobek.

06. Angkat screen
Angkat screen perlahan2. Usahakan tidak menggeser gambar.

07. Foil
Setelah lem benar2 kering. Letakan kaos di atas mesin heatpress. Tutup gambar dengan lembaran foil (sesuai besarannya). bagian yg mengkilap menghadap ke atas.

08. Heat press
Gunakan mesin heatpress pada suhu 130 derajat dengan waktu 15-20 detik.

09. Peel
Tunggu sampe dingin. Cabut lembaran foil perlahan2.

10. Finished

Tutorial Flock Transfer (by Nararya kaskus)

Proses flock Digital + manual

proses in imudah dan cepat… Efektif utk kaos satuan.
Kelemahan hanya utk proses flat color bukan separasi (bsa dua, tiga empat warna tapi bukan separasi).
Untuk warna full color akan dijelaskan pada proses berbeda.

01. Design
buat design (any software output eps) kemudian import ke software cutting plotter. Kalo pake mesin buatan china umumnya pale Artcut.

02. Cutting

Gunakan plastik stiker transparan (one side adhesive) lalu cutting dengan mesin cutting plotter sesuai bentuk design.

03. Peel

Gunakan pinset atau sejenisnya utk mencabut (membuang bagian yg akan diberi warna)

04. Masking Tape
Lapisi dengan masking tape. Fungsinya adalah utk memudahkan mengangkat dan meletakan stiker transparan tadi.

05. Cabut baking papper
Buka lapisan baking paper stiker yang berwarna putih dgn garis kotak2.

06. screen
Rekatkan pada screen. Usahakan menempel dengan rapih (tidak ada gelembung udara).

07. remove masking tape
Buka perlahan2 masking tape. Masking tape ini hanya berfungsi utk mempermudah peletakan dan pencabutan stiker transparan yg telah di cut.

08. Tutup screen

Gunakan plester kertas utk menutup bagian (area) yg tidak kita gunakan. Usahakan agar semua bagian tersebut tertutup rapat.

09. Letakan di atas flock paper

Letakan di atas flock paper (bisa dibeli di tempat jual alat sablon). Bagian stiker transparan menghadap kertas flock.

10. Glue
taruh glue (lem perekat utk sablon) di salah satu sisi bagian bawah.

11. Rackle
Sapukan (kuas) dengan menggunakan rackle secara merata pada bagian yg akan kita sablon. Usahakan agar tekanan cukup dan merata sehingga seluruh bagian yg akan kita sablon mendapatkan glue.

12. Angkat screen

Angkat (buka) screen dan perhatikan glue melekat sesuai bentuk yg diinginkan.

13. gunting
Gunting bagian yg kita butuhkan saja.

14. Tunggu kering (kurang lebih 5 menit)

15. Letakan di atas kaos.

Bagian flock berwarna menghadap kaos. Posisikan sehingga bagian kaos dapat mudah di press pada mesin heatpress.

16. Press

Gunakan mesin heatpress dengan tekanan cukup pada suhu 160 drjt dan waktu 20-25 detik.

17. Peel of
Tunggu sampai dingin. Angkat atau cabut kertas flock secara perlahan.

18. Finish (sori fotonya terlalu deket dan lupa matiin flashlight jadinya mantul sinarnya)

Gambar detail:

Semoga jelas terlihat tekstur flock nya.


JAKARTA, BPOST(PERLU DIBACA BAGI YG SUKA PRODUK DISTRO) Produk asal China kembali dapat sorotan. Pemerintah Selandia Baru kini tengah menyelidiki adanya baju impor asal negeri Tirai Bambu tersebut diduga mengandung bahan kimia formalin.

Kandungan formalin dalam baju itu ditemukan oleh para ahli yang bekerja untuk Target, sebuah program televisi di bidang pengawasan konsumen milik televisi Selandia Baru.

Para ahli itu menemukan formalin yang terdapat dalam baju berbahan katun dan wool dari China itu melebihi ambang batas formalin yang diperbolehkan, yakni hampir 900 kali.

Ministry of Consumer Affairs General Manager Selandia Baru, Liz MacPherson mengatakan departemennya kini tengah menginvestigasi kasus itu.

“Kami menanggapi hal ini dengan serius. Kami kini tengah mengambil langkah darurat dengan mengambil beberapa sampel baju dari pasar,” ujarnya seperti dikutip AFP, Senin (20/8).

Formalin memang biasa digunakan untuk memberi kesan kaku pada pakaian. Hasil penelitian internasional menunjukkan kandungan formalin hingga 20 bagian per sejuta atau part per million (ppm) bisa menyebabkan iritasi pada kulit, gangguan pernafasan dan kanker.Etc

>> hehehe .. salah satu alasan baju distro lebih mahal dari baju-baju china murah (grosir) sudah terjawab deh …..


Tutorial Sublimation flock dan Flex (digital T-shirt proses) by NARARYA

01. Design
Design kemudian mirror kan image.

02. Cut
Letakan flex pada mesin cutting plotter (bagian yg ada plastik menghadap ke bawah)

03. Peel
Kupas bagian yg tidak kita butuhkan. Bagian yg kita butuhkan masuh tetap melekat pada plastiknya.

04. Press
Letakan di atas kaos dengan posisi menghadap ke atas (lapisan plastik menghadap ke atas). press dengan waktu 160 derajat dan 15 detik.

Proses Flex Selesai.

05. Design
Any design, any color you want.
Design dan posisikan mirror image.

06. Print (sublime)
Print pada kertas biasa (HVS) atau kertas inkjet.

07. Press
Letakan kertas yg telah diprint tadi di atas kertas flock. Bagian yg terprint menghadap ke kertas flock.
Press dengan suhu 200 derajat selama 40 detik.

08. Lepaskan kertas print
Buka dan lepaskan kertas print sublimasi tadi. Sekarang gambar telah tertransfer pada kertas flock.

09. Cut
Potong outline gambar dengan menggunakan cutting plotter (countur cut). Tapi dalam projek ini karena gambar hanya simple berbentuk segi empat maka memotong dengan menggunakan gunting saja.

10. Kupas
Kupas lapisan backing papernya.

11. Press
Letakan di atas kaos. Bagian terprint menghadap ke atas.
press menggunakan suhu 160 derajat dengan waktu 15 detik.

12. Finished

Oscar Lawalata: ‘Concubine’ show a jaded variation on a theme

Sunday, March 21, 2004
Hera Diani, The Jakarta Post, Jakarta

Remove from the equation the acrobatic martial arts performance, the singing diva and the crimson and gold ornaments from the recent couture show of designer Oscar Lawalata — and what have you got?
The long and short of it were clothes barely distinguishable from one another. Drapery-like, baby doll, or with a empire line, the basic construction was identical, making the collection a monotonous stream of the same act.
At the end, there was the unfortunate question if Oscar’s latest collection — themed “The Last Concubine, Dying Gracefully — lived up to the couture definition at all.
Couture presents a highly artistic but still wearable collection which is the harbinger of the next trend, something not evident in this collection. It was disappointing as Oscar, despite his relatively young age, has long been regarded as one of the country’s most promising designers.
He made his breakthrough when he finished second at an international design competition in Singapore in 1999, a prodigy on the fashion scene at the age of 22.
His subdued, ethnic-influenced ready-to-wear designs earned him recognition, leading to the establishment of the first line OSCAROSCAR, OSCAROSCAR and a division for uniform design in his name.
OSCARCOUTURE made its debut three years ago, presenting a modern, daring and gleaming fashion collection with floral-shaped sequined patterns adorned over fine cloth, such as chiffon and lace.
While the first couture collection emphasized loose, draping patterns, the new collection is more sensual and follows the curves of women’s bodies.
Oscar was smart enough not to jump completely into cheongsam and classic Chinese dress, but instead only used both elements in the pattern making technique.
Most were layered ballet skirts with flared and asymmetric lines, and bustiers with modifications. Instead of satin, tulle dominated the collection, giving a light, fluffy effect.
Colors ranged the gamut: subdued pink and green, bright hues (shocking pink, bright red, orange) to simple black and brown.
No motifs were involved, only paillette, embroidery and sequins — in floral, as details.
Several items of men’s wear were presented, mostly inspired by the Chinese suit and in brown and blue.
There were also a few pieces from Oscar’s newest line O2L, a ready-to-wear collection aimed at “cosmopolitan, dynamic and stylish” young people.
But the show was really about the couture line, which was supposed to be glamorous and elegant, but instead showed the stagnation in the young designer’s creativity.
Although it could not be called a rip off of other collections or unoriginal, it failed to inspire, and could not even be called good. It was particularly disappointing because the local fashion scene has singled him out for particular praise.
It seemed that Oscar is another example of a prodigy who veers into realm of the celebrity and gets lulled into a sense of complacency by all the hype.
With his stunning, androgynous look, long thick hair and a beautiful face, he occasionally takes to the catwalk himself and is a regular on the party scene. And perhaps the sideline stuff of celebrity overshadows his talent and profession as a designer.
There is no denying Oscar has an undeniable strength in marketing and image building. He always manages to create a show that is packaged with a flair for the extravagant.
The first couture presentation, for instance, was held at the swimming pool of the Bung Karno Sports Stadium in Central Jakarta.
There, some 50 designs, including men’s wear, were displayed on a runway built around the pool, with entertainment of dancing, singing, diving and water ballet included, and capped off with a fireworks display.
His tie-dye collection was displayed at the artistic Gedung Dua8 in Kemang, South Jakarta, as well as the office of a radio station.
This most recent couture show relied on a theatrical show combining fashion, music and dance. There were wushu martial arts athletes, Titi DJ singing the Mandarin version of her Sang Dewi (The Goddess) and rhythmic dancers.
Unfortunately, even the performances came off as pretentious and unenjoyable.
Thanks to his image, big corporations were willing to be sponsors of his show, including a luxury car company, a department store and an upmarket apartment.
Fashionistas and the city’s cr‚me de la cr‚me swarmed the arena for all that Oscar had to offer.
Unfortunately, the cloak of glamor and high-powered hype could not cover the fact that the creativity quotient was sorely lacking.