Black Magic and Symbolism in Southeast Asia Fashion Designs

Introduction

In traditional Asian society, black magic was the use of supernatural powers as well as magic, normally for selfish goals or evil. In ancient myths from the Southeast Asian region, magic was a primary element of the stories. The tales were created to provide an answer for unexplained phenomena that had occurred at different times over the centuries. Subsequently, as a result of being passed on from one generation to the next, myths - specifically the existence of black magic became a core belief in the Asian societies. The following essay will portray how black magic has been symbolized in Southeast Asian society through fashion designs.

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Brief History of Black Magic in the Asian Society

Today, "talents from Asia have increasingly made their marks on the international fashion scene" (Step Into the Light 1). That is despite their strong relation to the theme of Black magic, a traditional phenomenon that is still significantly evident in today's contemporary Southeast Asia society. Also, the "Asian clothing and apparel sector is expected to grow rapidly in the next five years" "By 2018, market demand for clothing in the region is set to reach almost US$340 billion in nominal currency U.S. dollar terms" (Fashion and Apparel 20)

The people believe in Black magic among the residents of the Southeast Asian communities have become so ingrained into their traditions that interested individuals do not need to search for so long to find it. Over the years, the public has developed a trust in the healing powers of sorcerers through magic, which has its foundations in antiquity. Before the development of modern medicine in Southeast Asian society, black magic was employed for healing purposes. Nevertheless, in today's contemporary times, the use of black magic in the region has been sought for more specific needs, from attaining cure for certain elements to satiating darker motives.

Examples of specific reasons as to why Black magic is practiced in the region include the attainment of power and control as well as such as beauty and affluence. Power and control desires are primarily sought after by politicians and business persons in the Southeast Asian community with a goal of attaining greater affluence and outdoing competitors. Contrary, the search of beauty and recognition has also been a key reason why dark magic has become popular among the locals in the region. The search for perfectionism has made most people, largely women, to result in unorthodox ways of enhancing their beauty and popularity in the society.

Arguably, the stated phenomenon is the reason why most beauty stylist and fashion designers in the region have started incorporating aspects of dark magic in all their creations. Such aspects are depicted mostly through the choice of colors for beauty or decoration and in the materials used for beautification. Contemporary fashion designers like Toton Januar have from time to time been subjected to a critic in using traditional dark forces to drive the success of their products in the market. The Indonesian, Toton Januar, was "the 2016 winner of the Woolmark Asia Prize" (Craig and Karl 37). Also, most of such claims in the society are unsupported, and instead, they are largely derived from the aspects of ancient Asian culture that are employed in the creation of modern fashion designs in the female clothing sector.

In this analysis, it will be portrayed how current renowned fashion designers like Toton Januar have strived to promote the success of their products in the market by adopting the traditional Southeast Asian traditions. The last held Jakarta 2019 Fashion Week manifested how the choice of colors, fabrics, and design for women clothing have revolutionized the traditional role of women in society. That is from the perceived perpetrators of dark mythical arts to independent beings that have become empowered and independent in performing various important roles in the society. Also, it is plausible that the symbolism of dark magic in the creation of modern designer clothes for women is the key element that has raised recognition of brands like Januar in the Indonesian fashion industry.

Toton Januar Designs and Their Symbolization of the Ancient Black Magic Beliefs

Dark magic has always had a significant position in the Southeast Asian societies. Indonesia, for instance, in 2016 developed a statute focused on outlawing all forms of black magic by members of society. The nation's House of Representatives (DPR) outlawed dukun santet and other forms of dark sorcery, which could be perpetrated in the society. The stated instance portrayed that the beliefs in dark magic have a strong root in the Southeast Asian communities. Arguably, it is a fundamental factor that has been incorporated by fashion designers like Toton Januar in the creation of contemporary fashionable attire designs for women.

Among the ways through which the practice of the black magic in the stated societies was matched, was through the mode of clothing. Dark clothes embroidered by brightly colored ornaments, for instance, were largely used by charmers of dark spirits as an indication of their linkage to the underworld. Moreover, the same dark titivation was represented in various forms of art from the Southeast Asian artists, who symbolized renowned mythical female sorcerers as attired in black garments. Such garments were further decorated with an array of phenomena like feathers, a feature that is a primary component in Toton Januar's 2019 female fashion designs.

Januar's latest fashion designs portray a fusion of the traditional Indonesian beliefs in the dark art and contemporary trends in the market. In a market segment with a high preference for local brands, originality of all aspects of female attires from the choice of fabric to the designing of the garments are imperative. In addition, to comply with the expectations of the targeted product consumers for the Toton Januar's designs - who are largely locals - the symbolism of the ancient dark arts beliefs has been incorporated in the brands. The choice of coloring for most of Januar garments have been dark and in shade colors.

That is as opposed to bright colors that dominate the ruddiness of most of the female garment designs produced by other international designers that have strived to penetrate the Southeast Asian fashion industry. The contrast of the colors between Januar and foreign designs was evident in the Jakarta 2019 Fashion week. Also, the dull colors in the large sections of Januar's designs symbolize the aspect of community beliefs in dark magic - a key mark of the culture practiced by the local communities. Moreover, women in the ancient Indonesian society through folklore were depicted as horrific beings with close links to sorcery and powers from dark magic.

Subsequently, in a society that still has strong beliefs in such practices, it is crucial for designers like Toton Januar to depict darkness through colors in the creation of their designs. As evidenced in the female designs showcased in the Jakarta 2019 Fashion event, Black was a primary theme in all the Januar female designs. It is plausible to state that the choice of colors for the stated designs was a means to symbolize the acceptance of the Indonesian culture and a mark of pride for their cultural heritage. In addition, the symbolism of black magic in terms of Avant-Garde is also measured to be the primary reason that has escalated the popularity of Toton Januar designs in the women fashion ware market.

In all contemporary women clothes designs that have been developed by Toton Januar, it is evident that there is a trace of ancient Asian tradition in its composition. Additionally, that aspect coupled with the loyalty that the residents of the region have to the local designers can be stated to be the primary reason that has led to the vast success of Toton Januar's designs in the market. Also, the reason that Toton Januar has strived to incorporate the traditional Asian colors in the creation of his designs has made the Januar designs to be largely considered a local brand although there is still a significant portion of international clients.

The Manifestation of Symbolism of Black Magic in Cloth Designed by Other Top Artists in Indonesia

The following is the second case study that can be analyzed to illustrate the symbolism of black magic in the creation of contemporary fashion designs from the Southeast Asian region. The last held Jakarta Fashion week also showcased the beautiful works of other top fashion designers in Asia like Felicia Budi, Restu Anggraini, Peggy Hartanto as well as Patrick Owen. In addition, in all the designs produced by the stated artists, it is evident that the color themes used on the garments had a close connection to the traditional Southeast Asian beliefs of Black magic. The premise can be supported by the choice of colors that were employed in the designing of the brands and they styling of the fabrics used in the creation of the designer women clothes.

The past held fashion events in the Southeast Asia region have portrayed that fashion designers today are also striving to interpret their own cultures through the designer attires they create. That is because such designers have attempted to fuse traditional and contemporary garments that attract the demand of fashion enthusiasts today. Such users of mixed fashion designs trend well in the contemporary fashion scene while at the same time celebrate their cultural heritage and beliefs that have been passed to them by their previous generations. A good illustration of such fusion has been portrayed through the incorporation of ancient styles of clothes like decorating using silhouettes and batik, which is also a manifestation of the designers' belief in ethnic customs.

Such ethnic customs used on the designs betray the artists' recognition of society's belief in dark arts and the acceptance of the phenomenon to be a significant facet of today's Asian cultural beliefs. Other fashion icons today like Saverio, Biyan and Chandran that have participated in the past fashion events have designed fashionable female attires that symbolize women to be the perceived descendants of their 'dark' sisters, who used black magic as a means of attaining various goals and needs in their societies. That is because there is a remarkably close resemblance between the female fashions developed in the past centuries and those used today in the contemporary Southeast Asian societies. The stated comparisons can be deduced by analyzing ancient Southeast Asian arts and portraits of mythological figures and female Asian icons that have remained acknowledged in the course of past Asian history.

Despite the incorporation of traditional Asian beliefs and culture in the creation of their contemporary fashion attires for women, designers like Toton Januar have also strived to fuse aspects of international cultures into their creations. That is through the use of textile decorating designs that manifest a fusion of traditional Asian beliefs and practices, Black magic, and the emerging contemporary fashion trends in the international fashion arena. For instance, Asian designers have in recent times used the Ikat patterns in the decoration of designer fabrics for women. "Master weavers have always assimilated foreign influences in their patterns, thus they actively take part in processes of globalization, modernity, and fashion" (Jong and Kunz 9).

Such patterns illustrate that although the Southeast Asia fashion artists desire to incorporate international fashion enthusiasts in their creation, at the same time, they are cautious to symbolize the cultural beliefs in their creations. Additionally, this undertaking has been performed in order for such clothing designs by loc...