THE MEANING OF WHITE GOWN, REPRESENTED THROUGH INDONESIAN KEBAYA AS A WEDDING DRESS IN KEBAYA IN STYLE MAGAZINE : A SEMIOTIC STUDY A THESIS
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THE MEANING OF WHITE GOWN, REPRESENTED THROUGH
INDONESIAN KEBAYA AS A WEDDING DRESS
IN KEBAYA IN STYLE MAGAZINE : A SEMIOTIC STUDY A THESIS By: Reza Aditya Putra 121112123 ENGLISH DEPARTMENT FACULTY OF HUMANITIES UNIVERSITAS AIRLANGGA SURABAYA 2015
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THE MEANING OF WHITE GOWN, REPRESENTED THROUGH
INDONESIAN KEBAYA AS A WEDDING DRESS IN KEBAYA IN
STYLE MAGAZINE
: A SEMIOTIC STUDY A THESIS Submitted as Partial Fulfillment of the Requirements For Sarjana Degree of English Department Faculty of Humanities Universitas Airlangga Surabaya BY: REZA ADITYA PUTRA Student Number: 121112123 ENGLISH DEPARTMENT FACULTY OF HUMANITIES UNIVERSITAS AIRLANGGA SURABAYA 2015
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DECLARATIONThis thesis contains no material which has been accepted for the award of any other degree or diploma in any university. And to the best of this candidate’s knowledge and belief, it contains no material previously published or written by other person except where due reference is made in the text of the thesis.
Surabaya, 17 June 2015 Reza Aditya Putra
Student Number: 121112123
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Approved to be examinedth
On 17 of June 2015Thesis Advisor Dewi Meyrasyawati, S.S., M.A., M. Hum NIP. 197205152005012001 Head of English Department Dra.Lilla Musyahda, M.Pd NIP. 196612102007012001 ENGLISH DEPARTMENT FACULTY OF HUMANITIES UNIVERSITAS AIRLANGGA SURABAYA 2015
This Thesis has been approved and accepted by the Board of Examiners, English Department, Faculty of Humanities, Universitas Airlangga On 8
th
of July 2015 The Examiners are:1. Drs. Sumitro, M.M NIP. 195611191985031002
2. Dewi Meyrasyawati, S.S., M.A., M. Hum NIP. 197205152005012001
3. Dadung Ibnu Muktiono, M. C. S NIP. 139090992
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Claps Reza Aditya Putra
ADLN - Perpustakaan Universitas Airlangga This Thesis is dedicated to my Beloved family^_^
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ACKNOWLEDGEMENTSAlhamdulillah. Foremost, I praise and thank to Allah SWT for the kindness, bless in everything in my life. My gratitude for the knowledge, chance related to the fact that I could finish this thesis.
I would to express my deepest gratitude to my thesis advisor Mom. Dewi Meyrasyawati, S.S., M.A., M.Hum for the enlightenment, time, patience, and support during the process of writing this thesis. My gratitude also for all lecturers in English Department of Airlangga University who always supports and teach me in order to be a great student.
This thesis is dedicated to my parents, my family, thank you for the prayers, the supports, love that makes me stronger to face anything in my life and also thanks for always support me related to my study. Because of them, I always have a courage and passion for have a better future and become a better person.
My gratitude is also for my family (my Mom and my Dad) especially for you Dad, even though you do not see directly, you may be able to see this in heaven and I am hope you are proud of this thesis. My Sister dr. Rizky Maulidya Putri, SpPD and my brother-in-law dr. M. Reza Mahardika, SpTHT-KL who always give a support and stands beside me in good or bad times in my life and my best friend from childhood Indra Nugraha, he is not my brother but we feel like brother. My best friend from senior high school Achmad Rizal Syaifudin, Nuril Yunia Sari, Prasidya Radintantya, Riztia Nur Widyani and also for my partner in crime in Airlangga University– Moch. Luki Asrofi and Savira Aprilita Ananda, who always brighten my day in my life, my CS-mate as the place of sharing about the lectures and also 2k11 family who becomes my family in this college life.
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TABLE OF CONTENTS
Inside Cover Page .................................................................................................... i Inside Title Page ...................................................................................................... ii Declaration Page .................................................................................................... iii Thesis Advisor’s Approval Page ............................................................................ iv Board of Examiners.................................................................................................. v Epigraph ................................................................................................................. vi Declaration Page ................................................................................................... vii Acknowledgements .............................................................................................. viii Table of Contents ................................................................................................... ix List of Figure .......................................................................................................... xi Abstract ................................................................................................................. xii
CHAPTER I INTRODUCTION
1.1 Background of the Study .................................................................................... 1
1.2 Statement of the Problem ................................................................................... 7
1.3 Objective of the Study ........................................................................................ 7
1.4 Significance of the Study ................................................................................... 8
1.5 Definition of Key Terms .................................................................................... 9
CHAPTER II LITERATURE REVIEW
2. Theoretical Framework ...................................................................................... 10
2.1 Semiotics .......................................................................................................... 10
2.1.1 Roland Barthes ....................................................................................... 12
2.1.1.1 Denotation ........................................................................................... 13
2.1.1.2 Connotation ......................................................................................... 14
2.1.1.3 Myth .................................................................................................... 15
2.2 General Concepts of the Study ......................................................................... 17
2.2.1 The Concept of White Gown ................................................................. 17
2.2.2 The Concept of Contemporary Culture .................................................. 21
2.2.3 The Concept of Globalization ................................................................ 22
2.3 Review of Related Studies ............................................................................... 24
CHAPTER III METHOD OF THE STUDY
3.1 Research Approach .......................................................................................... 26
3.2 Data Source ...................................................................................................... 26
3.2.1 Primary Data Source ............................................................................... 27
3.2.2 Secondary Data Source ........................................................................... 27
3.3 Scope and Limitation ....................................................................................... 28
3.4 Technique of Data Collection .......................................................................... 28
3.5 Technique of Data Analysis ............................................................................. 28
CHAPTER IV ANALYSIS
4.1 Data Presentation ............................................................................................. 30
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4.2 Data Analysis ................................................................................................... 30
4.2.1 Kebaya In Style Vol I, p.24 ...................................................................... 31
4.2.1.1.1 Linguistic Message ......................................................................... 31
4.2.1.1.2 Non Coded Iconic Message ........................................................... 31
4.2.1.1.3 Coded Iconic Message .................................................................... 32
4.2.1.1.4 Myth ................................................................................................ 33
4.2.1.2 Kebaya In Style Vol I, p.55 ................................................................... 34
4.2.1.2.1 Linguistic Message ......................................................................... 34
4.2.1.2.2 Non Coded Iconic Message ............................................................ 34
4.2.1.2.3 Coded Iconic Message .................................................................... 35
4.2.1.2.4 Myth ................................................................................................ 36
4.2.1.3 Kebaya In Style Vol I, p.60 ................................................................... 37
4.2.1.3.1 Linguistic Message ......................................................................... 37
4.2.1.3.2 Non Coded Iconic Message ............................................................ 38
4.2.1.3.3 Coded Iconic Message .................................................................... 39
4.2.1.3.4 Myth ................................................................................................ 39
4.2.2.1 Kebaya In Style Vol IV, p.41 ................................................................ 40
4.2.2.1.1 Linguistic Message ......................................................................... 40
4.2.2.1.2 Non Coded Iconic Message ............................................................ 41
4.2.2.1.3 Iconic Message ................................................................................ 41
4.2.2.1.4 Myth ................................................................................................ 41
4.2.2.2 Kebaya In Style Vol V, p.51 ................................................................. 42
4.2.2.2.1 Linguistic Message ......................................................................... 42
4.2.2.2.2 Non Coded Iconic Message ............................................................ 43
4.2.2.2.3 Coded Iconic Message .................................................................... 43
4.2.2.2.4 Myth ................................................................................................ 44
4.2.2.3 Kebaya In Style Vol IV, p.84 ................................................................ 45
4.2.2.3.1 Linguistic Message ......................................................................... 45
4.2.2.3.2 Non Iconic Message ........................................................................ 45
4.2.2.3.3 Iconic Message ................................................................................ 46
4.2.2.3.4 Myth ................................................................................................ 47
4.3 Interpretation of the Data ................................................................................. 47
4.3.1 The Fashion Kebaya before, know and then ............................................ 47
4.3.2 Kebaya as The Representation of Contemporary Urban Clothing........... 53
4.3.3 The Meaning of White Gown Concept of Wedding Dress ...................... 55
CHAPTER V CONCLUSION ............................................................................... 58 REFERENCES ....................................................................................................... 60
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LIST OF FIGUREFigure4.1 The First Picture From Kebaya In StyleVol I, p.24 ............................... 31 Figure4.2 The Second Picture From Kebaya In StyleVol I, p.55 ........................... 34 Figure4.3 The Third Picture From Kebaya In StyleVol I, p.60 .............................. 37 Figure4.4 The Fourth Picture From Kebaya In StyleVol IV, p.41 ......................... 40 Figure4.5 The Fifth Picture From Kebaya In StyleVol IV, p.51 ............................ 42 Figure4.6 The Sixth Picture From Kebaya In StyleVol I, p.84 .............................. 45
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ABSTRACTKebaya is one of Indonesian traditional dresses. Kebaya has
undergone much development throughout its history in Indonesian fashion trend. The story of the evolution of the emergence kebaya from traditional to contemporary kebaya designs is interesting to study since nowadays
kebaya is also developed as a white gown wedding dress. One of the
magazines that displays much about white kebaya as a wedding dress is
Kebaya In Style, published by PT. Gaya Cipta Indonesia, Jakarta. Among
4 volumes of these magazines, there are two volumes (volume 1 (2010) and 4 (2013)) that explore the best work and creation of kebaya that are influenced by particular design of white gown. Using Semiotic theory suggested by Roland Barthes, this study is an attempt to reveal how Indonesian kebaya as a wedding dress is represented the meaning of white gown. Furthermore, the new meaning of white gown represented through Indonesian kebaya in Kebaya In Style magazine is finally uncovered. This study finds out that Kebaya as a wedding dress has been influenced by European white gown design including the choice of the color, which is white. This result of the study shows a contradictory of common preferences for Indonesian wedding dress. In Indonesia, white kebaya for a wedding dress is usually used for akad nikah (marriage covenant); while for the wedding party the magazine suggest the colorful one. Interestingly, this trend is no longer followed. Recently, the bride prefers to wear white
kebaya for both akad nikah and wedding party. Thus, this study finds that
there is a shifting of the meaning of white gown represented through Indonesian kebaya as a wedding dress. The meaning of white gown is not only purity and holy but it is a sign of following global trend. It shows that the white kebaya becomes a significant sign of contemporary global clothing following global trend of a wedding dress. This study hopefully makes a contribution to the field of cultural studies in general and the relation between fashion and culture in particular. From a broader perspective, the result of the study may reveal that fashion can be reflected or challenged through media such as a magazine.
Keywords: Contemporary Culture, Kebaya, Kebaya In Style, Globalization, Representation, White Gown