JFC Timeless Uses Hybrid Codes in Costumes

for Reaching Sustainable Identity

Lois Denissa

Program Studi DIII Seni rupa dan Desain, Fakultas Seni Rupa dan Desain, Universitas Kristen Maranatha,

Jln. Prof. Drg. Suria Sumantri, MPH no. 65, Bandung, Indonesia

Faculty of Art and Design, Maranatha Christian University, Bandung, Indonesia

Keywords: Costume, Hybrid Code, Jember Fashion Carnaval, Sustainable Identity.

Abstract: Jember Fashion Carnaval is a fashion carnival aspired by the late Dynand Fariz to elevate the prestige of his

hometown to a world-class carnival city. Fariz finally succeeded in making Jember a world carnival city, a

different identity from the previous Jember as a Tobacco City. This research uses descriptive analytical

method to annual extravaganza costume fashion phenomenon. The costumes displayed continue to

experience code hybridity enrichment in the aspects of form, material, texture, color, technique,

composition, culture and ideology as an expression of creativity. Its consistent, credible management,

involving young creators and the role of district government's legality become a magnet that invites foreign

professional photographers to capture the momentum every year. The purpose of this research is to provide

awareness that JFC is able to create a sustainable art field between young artists, the government, the artist

community, photographers and the world-class beauty event community through hydrid costumes. The

entire costume features an unusual cross-hybrid code but invites enthusiasm and brings Jember to a world-

acclaimed carnival city image. Since its establishment in 2003 until now, the hybrid code has become a

vehicle for the Jember community to prove its sustainable identity.

https://orcid.org/0000-0002-0881-7184

1 INTRODUCTION

The widespread phenomenon of fashion carnival in

Jember Regency, East Java, is began in 2003 and

still show continous event with a very significant

growth every year until now. The progress can be

read from increase indicator of creators,

photographers, and mass medias numbers who came

to cover. Also the number of roadshow requests, the

number of roadshow appreciators both domestic and

abroad which reached hundreds of thousands. The

appreciators who pour out every year fill tribune

stage beside the town square of Jember along ±

200m and runway along Pangeran Besar Sudirman

and Sultan Agung street about 3,6 km long to wide

open field of Kaliwates Jember Sports Building.

Since 2010, Dynand Fariz, who is the initiator

and president of Jember Fashion Carnaval, together

with the team of creators, have made many

achievements. They have won Best National

Costume at the International Man Hunt, Miss

Supranational and Miss Universe events. The last

Garuda themed costume won the Top 5 National

Costume Miss Universe 2016 in Philippines. These

costumes then re-inspired Dynand Farisz to create

the Garuda Gold Costume, which was used to

welcome the contingent of 45 countries at the 2018

Asian Games which invited praise and gained

admiration from the world community.

(https://www.suarasurabaya.net/senggang/2019/Mus

eum-JFC-Impian-Sang-Maestro-Karnaval-Dynand-

Fariz/).

The costumes that are displayed in the fashion

carnival formation are creations of Jember’s young

people who get direction, training, and selection

worthy of appearing from the leaders, namely senior

creators who are also carnival participants under

supervisor by Dynand Fariz himself. The costumes

are always suspected having a very free cross code.

The carnival character that is displayed from year to

year, over the last 16 years it has created an

Denissa, L.

JFC Timeless Uses Hybr id Codes in Costumes for Reaching Sustainable Identity.

DOI: 10.5220/0010750600003112

In Proceedings of the 1st International Conference on Emerging Issues in Humanity Studies and Social Sciences (ICE-HUMS 2021), pages 243-253

ISBN: 978-989-758-604-0

243

increasing appeal both from the people of Jember

and its surroundings and even abroad.

This is marked by the increasing number of

professional photographers, both domestic and

transnational, recorded in 2019 reaching ± 350

photographers outside those who registered. The

JFC committee provides a special stage at the end of

the catwalk, opposite the main stage. In front of

these photographers, the actors perform their best

choreography, after giving choreography in front of

the audience on the left and right of tribune stage

along ± 200 m.

Figure 1: JFC Tribune stage, Sudarman steet, Jember

Square. Source: https://beritagar.id/artikel/gaya-hidup/

catwalk-terpanjang-di-dunia.

Costume creations that occur indicate a cross of

signs that go beyond the convention norm of codes

in realm fashion. For example, there is a crossover

of media between textile, weaving, and batik, which

are common in realm fashion, then they are

combined with non-fashion media. Cross fashion

media with woven bamboo, iron wire, quill, wood

carving products, plastic sheets, dried plants,

spunbond sheets, dinier soft, etc. There are

technological crosses between sewing, batik,

weaving, and ikat techniques which are common in

the fashion realm then combined with non-fashion

techniques such as glue gun techniques, welding

techniques, wheel techniques, motor techniques,

weaving techniques, twisting techniques, wood glue

techniques, painting techniques and so on. etc. The

existence of cross-cultural archipelago traditions

such as Betawi, Borneo, Madura clothing which is

commonly used for traditional events that have

sacred procedures and values, is then displayed in

the form of extravagant, contemporary, profane

carnival culture, such as wearing boots.

At Jember Fashion Carnaval, time cross codes

are also found, presenting past, present and future

fashion codes. Future codes tend to communicate

knowledge, messages, appeals for future hopes. The

existence of the archipelago traditional cultural code

is presented at the same moment as transnational

cultural code so that there are visualization of codes

that cross each other. Crosses are not just limited to

what were mentioned above. Various crossovers of

costumes with global issues, sub-cultural community

life, fashion trends, natural phenomena, group

behavior patterns, science, politics, law, health can

be explored through sub-themes that can be raised in

the Jember Fashion Carnaval.

The term Jember Fashion Carnaval itself has

developed the meaning of combining fashion and

carnival (://www.republika.co.id/berita/koran/news-

update/13/04/09/mkzppo9-menyulap-jember-jadi

kota-karnaval). This merger is claimed by Dynand

Fariz, the initiator and president of the Jember

Fashion Carnaval, as the only one and has never

happened in any part of the world. Fashion is

understood as a change in fashion style that is

expected to continuously change all the time.

Fashion was created for the cycle of style as a non-

stop cycle (Chaney, 2003: 224). Meanwhile,

carnival-costumes are used for a limited time for

public celebrations. That is why carnival costumes

are made lively, with large dimensions full of

additional accessories, as a show that emphasizes

greatness / extravaganza.

The unification of fashion and carnival in Jember

Fashion Carnaval associates a fashion cycle that

breathes a trend can be lifted in the form of a

carnival. Trends are not the monopoly of the elites,

even non-elites, represented by carnival participants

and appreciators, are entitled to have trends. As

Fariz has written (Fariz, 2011: 27) JFC breaks every

claim that says,

‘JFC destroys all the stigma that requires a

fashion designer to graduate from design school, a

model must be a perfect body and a make-up model

must graduate from a beauty school’.

Carnival participants are creators, representative

of the public, people of Jember who are far from the

influence of urban fashion. The combination of

fashion and carnival will dissolve the distance

between elite and non-elite, high and low class, city

center and periphery, sexy and non-sexy (Denissa,

2014: 42) but raises equality between the two.

Theoretically, the unusual crossover between 2

media/ 2 material/ 2 techniques can be said to be a

hybridity. Observing cross markings found on

costumes displayed at Jember Fashion Carnaval

from 2003-2019, it can be said that the costumes are

hybrid fashion works. This hybrid phenomenon in

costumes created by imagination of young Jember

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244

creators community that certainly did not just

happen. The socio-cultural background and

advances in information technology in today's era

are forces that suspected of encouraging hybridity.

(Yuswadi, 2001: 13-23). Reaffirmed in Kompas,

Friday, 27 June 2014 about Hary Yuswadi in the

book Mapping Culture in East Java Province which

reveals about the people of Jember as people of

Pendhalungan:

‘Pendhalungan is a description of an area that

accommodates the diversity of ethnic groups with

different cultural backgrounds, which then gives

birth to a process of cultural hybridization. Jember

Fashion Carnaval was born from a very creative

cultural hybridization by the son of the region,

Dynand Fariz’.

Since its inception in 2003, Jember Fashion

Carnaval costume has shown a complex crossover of

codes. Starting from 3 subcultural defiles in first

year, namely Cowboy, Punck and Gypsy, then

increased every year until they reached 10 defiles

with 4 sub-themes of National Culture,

Transnational Culture, Global Issues and Fashion

Trends in each event year. These 4 sub-themes

appear together in the same event, starting from only

1 day in the first year, then expanding to 3-4 days of

events. Among others, Kid's Carnival, Art Wear

Carnival, Wonderful Archipelago Carnival and

Grand Carnival as the highlight of best costume

work on last day.

Jember was named the Best Carnival City in

Asia 2017 by Arief Yahya, the Minister of Tourism

of Indonesia and was ranked as the Third Most

Unique Carnival City in the World after Rio de

Janeiro Carnival in Brazil; Pasadena Flower

Carnival in Los Angeles, United States. This

statement is often published in online news for every

event, we will very easily find the website with news

that is constantly updated. Jember city received three

consecutive Top 10 awards out of 100 National

Calendar of Events/CeO because it was supported

by the prestigious Jember Fashion Carnaval event

with its amazingly attractive costumes. The

costumes are hybrid fashion pieces. The hybrid

phenomenon in costumes created by the imagination

of young Jember community creators.

The expected aim of this research is to raise a

new awareness among the general public that the

unusual code of hybridity can be applied to carnival

costumes. The complexity of crossovers codes

developed in a carnival costume is capable of

producing high-impact creativity. Not only

activating the young generation to work with proud

achievements and successfully reviving the tourism,

economic, social, cultural sectors but also being able

to carve a sustainable identity, as evidenced by JFC

achieving recognition as the 3rd most unique

international carnival and Jember as the World

Carnival City.

2 METHODS (AND MATERIALS)

The method used in this research is qualitative

analytic method. The focus of research study is the

visualization of costumes at Jember Fashion

Carnaval which is divided into 2 stages from 2003 to

2014, which has been proven to have a code of

hybridity (Denissa, 2019: International Scientific

Proseeding). In 2014, Dynand Fariz's work won 3

awards for Best National Costume as Miss

International in Tokyo Japan, Miss Supranational in

Warsawa, Poland and Miss Universe in Florida,

USA. In the following 5 years 2015-2019 as seconds

stage, after this initial research, the hybridity code is

suspected to be continuing. This heterogeneous

visual code crossover can also be found in Best

National Costume which created by Dynand Fariz

with some of the Esmod Jakarta Fashion School

students who participated. The costume creations

received awards, among others, as Best National

Costume Miss Supranational 2015 in Warsawa

Poland, Miss Grand International 2016 in Las Vegas,

America, Miss Tourism International 2016 in

Malaysia. The visualization of costumes creators

who appeared on 2015-2019 JFC runway as well as

the costume work of Dynand Fariz who won Best

National Costume show a crossover of equal code

complexity.

All costumes that appear at the JFC event are

costumes that have hybrid characteristics. This is

evidenced through direct observation in general /

common sense of various additional shapes on the

head, sides and back of the creator's body with

dimensions of 1-3 m. The use of various fabrics,

weaving, songket materials and common sewing

techniques for costumes is combined with the use of

various materials and techniques that are not

uncommon for fashion. Materials such as spunbond,

dinier soft D 300, eva sponge sheet, paint, bamboo,

wood, iron, paper, plastic, acrylic and so on with

airbrush techniques, manual brushes, hot plastic glue

guns and welding to obtain large dimensions and

sturdy when choreographing..

The Mimicry phenomenon of Homi Bhabha is a

beginning of hybridity theory, which is a mixture of

colonized culture against colonial culture in order to

"survive" in the post-colonialism era. The theory of

JFC Timeless Uses Hybrid Codes in Costumes for Reaching Sustainable Identity

245

hybridity then developed in realm of art, not only

mixing two cultures or two varieties of same species

as in the realm of agriculture but also in the use of

different materials and techniques in realm art. In

the JFC costume, there is a hybridity phenomenon

that goes beyond biology and mimicry theory of

Homi Bhabha, mixing occurs in many aspects

including form, color, texture, composition,

material, technique, ideology and culture. Raudlatul

Jannah's thesis research explains that JFC is a new

identity construction project that is much different

from the old identity, Jember as a city of santri and a

city of tobacco (Jannah, 2012: 135-151). Implies

change without erasing its old identity which is still

running.

Furthermore, Dynand Fariz, the initiator and

president of JFC from its founding year 2003 until

now, admitted emphatically in depth interviews and

live show interviews on You Tube that JFC was an

idea to mix fashion in France and carnival in Rio de

Janeiro. Every year since 2003, JFC event has been

characterized by a mix of events from exhibitions,

culinary, press conferences, photography festivals,

JFC for children from ± 4 years old to teenagers /

JFKids Carnival, JF Art Wear Carnival, Carnival

provincial representatives who are members of the

Wonderful Archipelago/ Waci Carnival and the JFC

peak event carnival/ JF Grand Carnival.

Dividing the theme of annual event into 10

defiles with four sub-themes that are always the red

threads of JFC event, namely the national culture

sub-theme, the transnational culture sub-theme, the

actual issue sub-theme and fashion trend sub-theme.

The theme set then divided into 4 sub-themes, this

group have explained the characteristics of mixing

fashion with local creativity of Jember people,

foreign culture, actual transnational issues and

fashion trends. Visual fashion is created and

demonstrated by the local community of Jember, in

a location in Jember city with ideas for image

acquisition which are explored with input from

Fariz, leader and image studies which are taken from

various online sites. This mix includes all kinds of

events, all three JF Kids Carnival, JF Art Wear

Carnival and JF Grand Carnival. The situation of

merging these sub-themes has been going on since

2005 until now.

City identity is a specific identification of a city,

something that is fundamental and important,

through identity we can recognize the uniqueness,

distinguishing the characteristics of a place

compared to other places (Lynch, 1984: 131). City

identity can be physical, namely anything physical

that can be used as an identifier such as monumental

buildings, bridges, roads, city furniture, agricultural

producers that are unique. Non-physical city

identities are identities made by the behavior of city

residents, which can be in the form of social,

economic, cultural or tourism factors. City identity

does not have to be something that is always fixed,

because identity can change due to the dynamics of

the people who support it. Cities can develop to be

bigger and more advanced, on the other hand, they

can also become bad and die because there are no

people who support them. Identity can appear on its

own without being planned to achieve identity, for

example due to population growth or physical form,

but it can also be created, by something that is non-

physical (Haryanto, 1989: 12))

JFC was born and departed from the ideal of

Jember resident, Dynand Fariz, who then motivated

young people to be active in creating, promoting his

costume work on the street catwalks. Fariz does not

provide enough education, training, judging,

improving the quality of creations, Fariz has to

manage the presence of the press, photographers,

government legality, regeneration, lodging for

international appreciators, scheduling events every

year without stopping in order to achieve identity.

Jember as a world carnival city, without shifting its

old identity as a Santri city and Tobacco city. An

identity that is non-physical because it is planned, is

lived synergistically by the community to really be

realized and maintained through the sustainability of

the costume hybridity code until now.

3 RESULTS AND DISCUSSION

In this presentation, an analysis of the identity of

Jember as a World Carnival City will be carried out,

not from history of the city's wealth that has been

inherited by the people from generation to

generation as we usually find. Conversely, an

identity that departs from an ideal which is then

encouraged and lived by the community in a

sustainable manner.

3.1 Jember as a World Carnival City,

an Identity Created

Image is understood as a person's recognition of

identification of a different and unique object that is

not found in other objects. In this case, the object of

image is the city of Jember, how can the image

Jember’s people be seen and recognized by the

world. In order to obtain this image, the people of

Jember achieve it through the hybrid code on

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246

costumes. The young creators created and

demonstrated the costumes themselves and chose

city streets as catwalks for doing choreography and

dance.

Figure 2: The main street of Jember city ±3.6 km, as the

longest carnaval runway catwalk in the world.

Source: https://travel.tempo.co/read/1080667/jadwal-

lengkap-jember-fashion-carnaval-2018/full&view=ok.

Hybridity code is understood as crossover code

applied to costumes beyond the commonly code

used in fashion. An unusual and complex mixture,

covering various aspects including shape, texture,

color, composition, material, technique, ideology

and culture. This cross has created visual appeal due

to its unique nature.

Figure 3: Complex crosses code invite enthusiastic

appreciators. Participants are creators, choreographers as

well as treatical dancers. Source://i0.wp.com/wong

jember.com/wpcontent/uploads/2019/05/cnnindonesiaFIL

Eminimizer.jpg?w=680&ssl=1.

The uniqueness of this complex cross code is an

essential feature to gain enthusiasm from

appreciators. Sultan Agung street and Gajah Mada

street are the main roads for Jember city along the

3.6 km chosen as the performance catwalks. The

choice of the road as a runway is the performance

can be easily seen by the public on both sides of the

road as well as a smart strategy to invite the media.

Media and photographers are the key to promotion

to reach the world. The increasing number of

appreciators, the number of media and

photographers at home and abroad each year

increases the enthusiasm of creators to continue

working better. There is always something new that

is created from year to year which is a main thing

that Fariz always plans. Themes are never the same,

there are always new things added, costumes are

always attractive, types of activities are constantly

being improved.

From one Grand Carnival activity in 2003-2012,

there have been additional Kids Carnival, Art Wear

Carnival and Wonderful Archipelago / Waci since

2013 until now. There are additional activities that

drive the socio-cultural life of the community, such

as art exhibitions, traditional product exhibitions, art

competitions, art product workshops, press

conferences, bazaars, pet carnivals and typical

Jember culinary delights. This carnival fashion

creative activity is consistently promoted by young

people, in synergy with the district government. The

increasing number of visitors has also revived

various economic sectors such as increasing regional

income, social sectors such as reducing

unemployment, increasing intelligence, creativity

and self-confidence of the young generation. There

are so many positive values that can be built and

lived by the community, such as opportunity for

road shows outside the city and abroad, invitations

to fashion shows to build and elevate the image of

another city through a carnival.

JFC's consistency has carved out the first rank as

the best carnival in Asia and the 3rd best carnival in

the world after the Rio de Janeiro Carnival in Brazil

and the Pasadena Flower Carnival in Los Angeles,

USA (https://wartaevent.com/ini-deretan-prestasi-

jfc-at-world-level /). Since 2016, Fariz and Kreator

JFC have won 16 awards and honors at world-class

festivals, including Best National Costume Mister

Universe in 2011, 2012 and Best National Costume

Miss Universe 2014 Miss Supranational 2015, Best

National Costume Miss Grand International 2016.

The consistency of JFC's performance every year

that has never been cracked since 2003 until now

2020, will even continue even though 2019 Fariz is

gone. The spirit of building Jember's identity as a

world-class Carnival city continues to surge in the

minds of the young people of Jember, even the

Jember district government is determined to

continue to sustain the implementation of

performance every year. What is Fariz's idealism

will continue to be maintained, the quality of JFC

will continue to prevail so that the Jember identity

he aspires to become a sustainable reality.

JFC Timeless Uses Hybrid Codes in Costumes for Reaching Sustainable Identity

247

3.2 The Hybridity of Visual Costume

Code Is the Key Achieving

Enthusiasm and Identity

The number of visitors who attend JFC from year to

year continues to increase, it can be calculated from

the number of seats prepared in the tribune stage

room. In 2017, 2018, 2019, it has reached 3500 seats,

sold as tickets for 1800 seats, the rest were

distributed as invited guests. The number of seats

has increased from previous years, at the beginning

of its establishment there were 100 seats available.

The number of creators reached 350, when added by

Paskibra, marching band and professional models

reaching 900 participants, the number of

photographers was 350 who registered. All major

media in Indonesia plus Associated Press, America;

Agence France-Presse, France; Thomson Reuters,

London; and Nippon Hoso Kyokai, Japan are medias

that are ready to cover the JFC event per year.In

2020 and 2021 the number of activities and

participants was limited due to the pandemic.

(Interview with Hamdha Arifta, on June 2021 JFC

management team).

Hybridity comes from the word hybrid, a term

that was originally used in the field of biology to

cross 2 varieties of same species so it produces a

new variety that has the characteristics of both

parents. This term was later borrowed to describe

crosses in the realm of art to describe crosses that

developed outside of their usual realm. The serving

of costumes is the center of viewing for

appreciators. Hybrid codes on the JFC costum have

carried out complex crosses code and have become

the main attraction of appreciators as well as the

main expression of creators in their work (Denissa,

2019: 519) Complex crosses code can be found both

runway costumes and national competitions

costumes in the Mister and Miss International show

as follows:

Table 1: Costume Code Analysis: Royal Sigokh Lampung.

Costume :Royal Sigokh, Best National Costume Miss

Grand International, 2016 Las Vegas, Amerika Serikat

Created by Dynand Fariz and Costum Creator Team.

Source:www.sigerindo.com/2016/11/siger-lampung-

raih-best-nationahtml

JFC Creator Creations on the Catwalk Runway

Source:

//obs.linescdn.net/0hRjW6w5PBDUVqTyKetj5yElAZDi

pZIx5GDnlcWzohU3FPLBhGVipFK0kbVCcSf0obBH5

FI0tIFnRAKENEXylF/w1200

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Unusual Crosses Code

Shape: Siger Crown with Elephant Head

Material: Textile with spunbond, beads, metal chain

Texture: Fine textiles and full jewelery, carved Color:

Raw colors Lampung red and gold with green, black,

white

Technique: Sew and Hot plastic Glue Gun, paste, hang,

stack, drappery

Composition: Crown on the Head, on the Shoulders, on

the Trunk

Culture: Ethnic Lampung with the West, namely

footwear High Heels, long cuffs, robes

Ideology: Lampung ethnic traditions with carnival

ideology based on hybrid creativity.

Analysis: There was a complex crossover codes on the

Royal Sigokh costume of the Lampung ethnicity which

was favored by creators and appreciated by local and

foreign people.

Table 2: Costume Code Analysis: The Sacred Hudoq.

Costume :The Sacred Hudoq 3 rd Runner Up National

Costume Miss Supranational 2018, Poland. worn by

artist Cinta Laura Khiel in the main stands. Created by

Dynand Fariz and Costum Creator Team.

Source:.https://www.idntimes.com/hype/entertainment/a

prilia-nurohmah/curi-perhatian-10-penampilan-cinta-

laura-di-jember-fashion-carnaval/10

Source:. //www.liputan6.com/showbiz/read/4034712/jadi-

kontroversi-di-jember-fashion-carnaval-cinta-laura-

pengalaman-terbaik

The Hudoq’s dance is native to East Kalimantan Source:

//travel.tempo.co/read/1139293/ada2-000-penari-

meriahkan-festival-hudoqdi-kalimantan-

timur/full&view=ok

Unusual Crosses Code

Shape: Hornbill feathers with tendrils, the crown of the

roof of a Kalimantan house

Materials: Hornbill Feather, Real Leaf with Imitation of

Spunbond Leaves, Dinier Soft D300, Acrylic paint, light

steel structure, Sponge Eva

Textures: Hornbill Feather, Real Leaf with Imitation of

Spunbond Leaves, Dinier Soft D300, Acrylic paint, light

steel structure, Sponge Eva

Genuine Texture : Fine textiles and various ethnic Dayak

jewelery, carved jewelery

Color: Hudoq Raw Color: red, green, white, black with

yellow

Technique: Sewing, tie the rope and Hot plastic Glue

Gun, welding

Composition: Crown feather hornbills on the left right

shoulder

Culture: Traditional dance with Western culture, namely

Footwear Boots, High Heels, hot pans, long cuffs, head

dresser. robes, choreography and modern dancing

Ideology: Dayak ethnic tradition with carnival ideology

based on hybrid creativity.

Analysis: There was a complex crossover codes on the

costume of The Sacred Hudoq, the Dayak ethnic group

that was sought after by creators and appreciated by both

local and foreign people.

JFC Timeless Uses Hybrid Codes in Costumes for Reaching Sustainable Identity

249

Table 3: Costume Code Analysis: Garuda Unity in

Diversity.

Costume :Garuda Unity in Diversity appeared at the

National Costume Miss Supranational, 2016 Poland.

Created by Dynand Fariz and Costum Creator Team

Source:://www.yangpentinghepi.com/assets/picture/medi

um/Agustus%202018/19/Karnaval%20Unik%20Bin%20

Kreatif,%20Bikin%20Akamsi%20PD%20Unjuk%20Gig

i!/2.jpg

JFC Creator Creations on the Catwalk Runway

Source://travel.tribunnews.com/2017/06/23/tandai-

kalendermu-jember-fashion-carnaval-akan-digelar-

tanggal-ini

Unusual Crosses Code

Shape: Wing distortion with decorative carvings

Materials and Textures: Textile with Sponge Eva,

Spunbond Dinier 300, softwood carving, Acrylic paint,

light steel structure

Textures: Textile with Sponge Eva, Spunbond Dinier

300, softwood carving, Acrylic paint, light steel structure

Texture: Fine textiles and solid jewelery, carved

Color: golden yellow, imitation jewel luster, red-white

Technique: Sewing, tie rope and Hot plastic Glue Gun,

welding, chain, twist, stack

Composition: Large dimensional wings and feathers on

the body

Culture: Symbol of the Unity of the State of Indonesia,

the Indonesian flag with Western culture, namely

Footwear Boots, High Heels, head dresser, long cuffs,

robes, choreography

Ideology: The symbol of the Unitary State of the

Republic of Indonesia with a carnival ideology based on

hybrid creativity.

Analysis: There was a complex crossover code on the

Garuda Unity in Diversity costume that was sought after

by creators and appreciated by both local and

international people.

Table 4: Costume Code Analysis: Toraja.

Costume :Mystical Toraja, Best National Costume Miss

Supranational, 2015 Polandia. Created by Dynand Fariz

and Costum Creator Team. Source:.

://www.tribunnews.com/images/seleb/view/1624384/gre

sya-amanda-ikuti-ajang-miss-supranational-2015

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Unusual Crosses Code

Shape: Toraja roof as a crown and shoulder decoration,

drappery woven stacks

Material: Songe Eva Spunbond, plastic, Acrylic paint,

chain, ribbon, light steel structure

Colors: tradition: black, red, yellow, white with orange

Texture: Woven textile with Toraja motif and solid

jewelery

Technique: Sewing, tying rope and Hot plastic Glue

Gun, welding, chain, twist, stacking, air brush

Composition: Crown shape Toraja roof and roof

repetitions acting on either side of the shoulder

Culture: House and Weaving Toraja tradition with

Western culture, namely Footwear Boots, High Heels,

head dresser in the form of a roof, long cuffs, robes,

choreography

Ideology: Torajan ethnic tradition with carnival ideology

based on hybrid creativity

Analysis: There was a complex crossover code in the

costume of The Mystical Toraja which was sought after

by creators and appreciated by local and foreign people.

Table 5: Costume Code Analysis: Bird of Paradise.

Costume : National Bird of Paradise, National Costume

Miss Universe 2018, Bangkok Thailand. Created by

Dynand Fariz and Costum Creator Team.

Source://wolipop.detik.com/foto-entertainment/d-

4338639/foto-aksi-puteri-indonesia-pakai-kostum-

cendrawasih-di-miss-universe-2018/1?zoom

Front Views

Back Views

JFC Timeless Uses Hybrid Codes in Costumes for Reaching Sustainable Identity

251

JFC Creator Creations on the Catwalk Runway

Source:.://lifestyle.kompas.com/image/2016/08/30/1312

18420/ada.cenderawasih.setinggi.7.5.meter.di.jember.fas

hion.carnivale.2016

Unusual Crosses Code

Shape: Imitation of 12 birds of paradise flying around

the body of the 2nd Runner Puteri Indonesia 2015 and

imitation of bird feathers to become a large dimensional

train decoration

Material: Textile, Tulle, Sponge Eva, Spunbond, plastic,

wire, synthetic fur, tulle tectile, acrylic paint, bead, light

steel structure

Texture: Smooth and transparent textiles solid jewelery

and artificial bird paradise

Technique: Sewing, twisting, twisting, draping, Hot

plastic Glue Gun, welding, wheels, twist, stacking

Composition: 12 imitation birds of paradise hanging

swinging behind the body, on the head as a crown and

on the left and right shoulders

Culture: the richness of native fauna of Indonesia,

modification of the Tabit shawl between the thighs of the

Kalimantan tradition cloths and Western culture, namely

Footwear High Heels, long cuffs, robes, handicrafts

Ideology: Promotion of Papuan fauna wealth with

carnival ideology based on hybrid creativity.

Analysis: There was a complex crossover of code on the

Cendrawasih costume which was favored by creators

and appreciated by local and foreign people.

4 CONCLUSIONS

From the explanation above, a common thread can

be drawn that the hybrid code is the main creative

idea proposed by Fariz, and JFC leader and is lived

by the creators. Creator is a costume creator who

was trained by Fariz and the leaders, as well as

costume choreographers while on fashion runway.

The increasing number of appreciators, professional

photographers, mass medias from year to year, in the

17 years of JFC's journey proves that the idea of

creator creativity has an appeal that increases

enthusiasm. In the last nine years, there are 16 of

Fariz's creations that have won the Best National

Costum at various levels of World Princess election

event. The results of costume creations both in the

runway fashion creator costumes and the national

costumes worn by Indonesian men and women at

international festivals have been loaded with

complex hybrid codes. This proves that the hybrid

idea developed in aspects of form, material, texture,

color, texture, technique, composition, culture and

ideology attracted the juries so that the hybrid code

became a code that generated universal enthusiasm.

Jember Fashion Carnaval has survived to perpetuate

hybrid code on the costumes creators from its

inception until now. The hybrid code on costumes

continues to be explored as a vehicle to achieve

Jember's identity as a sustainable world carnival city.

ACKNOWLEDGEMENTS

The author would like to thank the late Dynand

Fariz, president of the Jember Fashion Carnaval,

who had a lasting passion until the end of his life to

elevate the city of Jember, which did not know

fashion, to become a carnival city that was

recognized by the world through his hybrid fashion

idea. Thanks also to Hamdha Arifta as JFC

management who was a valid resource person in

each stage of writing.

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