Ecological luxuries inspired by the imperial mystique of the thousand islands
AugusteSoesastro studied fashion at the rigorous Ecolede la ChambreSyndicale de la Couture in Paris, alma mater of the great couturiers, Yves Saint Laurent and Valentino. He interned at some of the major Haute Couture houses in Paris and finally moved to New York to work for couturier Ralph Rucci, the first American to be granted Haute Couture status by the ChambreSyndicale de la Haute Couture. Shortly thereafter, he worked as a patternmaker for Tignino a New York couture sample house that produced patterns for Narcisco Rodriguez, Isaac Mizrahi, Calvin Klein Collection, etc. before launching his own line in New York City in 2008, KRATON.
KRATON originates from the Javanese word for palace, a union of skilled artisans and labor of love. KRATON specializes in high-end luxury garments, crafted to perfection, incorporating superb tailoring techniques, unique designs and the best available materials, working together with only the best artisans in each of their specialized fields. KRATON’s collaborators are also those who participate in fair trade, legally obtained raw materials, ecologically responsible and cruelty free practices. Until September 2010, all garments were hand crafted in New York City.The Jakarta atelier opened in January 2011, and operates under the same standards of fair wage and environmentally conscious work ethics.
Prior to fashion studies, Auguste obtained a bachelor degree in Film Animation / Digital Arts from the Australian National University and Architecture at the University of Sydney. During this period, he also worked as an arts curator and honorary staff at the Culture and Education department of the Indonesian Embassy in Canberra.
KRATON: from New York to Jakarta
In June 2008, when I established KRATON in New York City it meant to be much more than a fashion brand. Taken from the Javanese word which means ‘palace’, KRATON serves as an ambassador brand to promote Indonesia’s heritage and culture in an international context. I believe, in Indonesia, there has been a huge misconception of what the name stands for. I did not choose such a name to promote Indonesian traditional batik or costumes. Italy, for example, has a history of Baroque art, yet Italian design today reflects nothing of its gilded past, what remains are,the same attention to craftsmanship and savoir faire of the trade.
What is Indonesian design Today?
I believe fashion is a reflection of the times. I moved to Jakarta 26 months ago, having spent most of my life overseas. It is a constant struggle to survive in acity where anything goes and where rules are made to be broken. Oddly enough in the design field, people seem to be boxed in, toying with the stereotypical, blatantly plagiarizing, or simply re-creating an Indonesian version of something popular overseas.
First and foremost, one must understand what it means to be Indonesian in the global context, and what is happening in Indonesia at this very moment, environmentally and sociologically. Design should respond to these elements, in the most honest and realistic way possible. It is the only way we will have a future.
There was a time when I questioned my raison d'être. With so many fashion labels and clothing companies, what right did I have to produce more consumer goods? The world does not need any more fashion. But then again, it would be such a dull place. The only way I could do this was, to do it the responsible way. For us, at KRATON, it is important to understand where our fabrics are sourced, how the raw materials are obtained, and whether the skilled labor is correctly compensated. From the first collection in New York, 2008, we have worked closely with responsible artisans such as LoroPiana, Gandini and Sfate&Combier.
The Jakarta atelier was opened in the beginning of 2011, with 3 staff members, including myself who worked also as a pattern maker. It has been a very long process of trial and error to get things organized, it is perhaps how things work in Jakarta. I hand picked each staff member for their unique abilities and re-trained them to work with my vocabulary. They are like my family members, and we make sure they are well looked after. It is working with people like these that give me hope that I have something to look forward to in this country.
KRATON prêt-à-porterde luxe
In January of 2012, I first launched KROMO, an attempt to create a Ready to wear collection with a contemporary price point. This is where one realizes; the jump from meticulous couture to the mid-level is a world apart. I was mentally struggling to accept more industrial methods of finishing; machine overstitches, semi synthetic lining, machine buttonholes and other things which we do not even dare to think of in proper couture. Alas, to this day we have still managed without the aid of an over-locker, the mortal enemy of the couturier. These hidden elements therefore do not make business sense with our initial hope to create works at a medium price. With the help of our new European based business partner, we formulated KRATON ready to wear.
KRATON ready to wear is our luxury / high end non-made-to-measure version of the couture line, a natural evolution, which combines the techniques and fabric sensibility of our existing couture line and the practicality of ready to wear. We are still dressing the same type of women; independent, intellectual, cultured, mentally mature beings with discerning taste. For me, this is a great exercise in restraint and letting go, to come to terms with reality and be more grounded. It is such a relief to step up the work once more, to a vocal range I am more familiar with.
We are known for our deceptively simple aesthetics and unique construction; singular panel patterns, gusseted kimono sleeves, one seam bias gowns, silk lined trousers, and sunburst-pleated paneling. Fabrics are uniquely sourced, generally artisanal and hand woven natural fibers, usually un-dyed to expose their natural beauty.
Handwork remains an essential part of our craft. Tailored suits and jackets are constructed in the same method as proper bespoke men’s tailoring, with horsehair interfacings and underpinnings. Double-faced fabrics* are hand split on edges and inside seams are fully hand stitched. ‘A client once told me, she wore a jacket inside out the entire day and did not notice until she took it off in the evening’. This I’m proud to say is a result of fine work, garments are as beautiful on the inside as they are on the outside.
Double faced or double cloth is a reversible fabric which can be separated into two pieces of cloth with completely different weaves, colors or patterns.
Ready to Wear Collection Fall/Winter 2013-2014
In the last 6 moths two of my cities have been immersed with water, Hurricane Sandy in New York and the recent floods in Jakarta. We can no longer deny the impact of modern civilization on the environment; this is our major concern at KRATON. Reduction means to use only the best available, no excess production and to take great care when making each garment to avoid wastage.
It has been over two years since I last worked with winter fabrics, suiting wool, heavy flannels, cashmere blends, and my painstaking favorite: double-faced cashmeres. This season we created single panel double-faced wool crepe jackets, each piece only takes up 1 yard (90cms) of fabric – the fuchsia jacket (look 15) has two shoulder darts and 1 seam on each side from underarm to front pocket, it takes a skilled worker 60 hours to assemble this very simple looking garment.
The color palette for this collection contrasts from cold climate neutrals; black, navy, indigo, taupe and grey vs. burnt orange, fuchsia, magenta and fire engine red. A juxtaposition between the natural and the chemical, humility and vanity, consciousness vs desires.
Part of KRATON’s mission, is to promote Indonesian culture. Regional textiles are always incorporated into the collection. The hand-woven cloths from Ayotupas, West Timor are displayed in its natural state as shawls and also transformed into tops. The cloths are woven from organic cotton and dyed exclusively with natural dyes. Those who work with hand-woven geometric pattered textiles will understand the challenges, uneven tension and seemingly symmetrical patterns, which do not mirror. Batiks are occasionally used, only when the patterns are relatable to today’s art. Batik is a technique, not only pattern design, It too must evolve with the times to survive. Featured in this collection is a monochromatic batik top with matching shawl (look 25) made from silk crepe with a pattern known as tirtotejo,which means sparkling waters in Javanese.
The last 3 looks of the collection represents what is known as The Moirai in Greek Mythology; the 3 goddesses of fate who personified the inescapable destiny of man. Although we are helpless against the rising tides and individually powerless to fight global warming, together we have a role to save the earth, I believe it is our destiny.
AugusteSoesastro, Jakarta, Feb 13, 2013
