“We live in such a precarious era,” fashion stylist Alyssha Nila said in a mix of English and Indonesian during a discussion at Fashion Nation XIX in Senayan City, Jakarta, on Sept. 24. “Things are tough, but not really. It’s kind of weird like that.”

Her words capture the contradictions of our time. The fast-paced digital age demands relentless creativity, even as imitation spreads at the speed of a click. New labels crowd the market, while consumers grow more cautious amid economic uncertainty.

Under these pressures, Indonesian designers are rethinking what creativity and productivity mean today: adapting and finding ways to thrive amid chaos.

“Our brand grew during the heyday of printed media,” Bandung-based designer Deden Siswanto recalled. “It was a different era back then.”

Deden launched his eponymous label in 1995, when being featured in a fashion magazine could catapult a designer to fame. “Back then, we really had to struggle to be featured in certain magazines,” he said. “But now, everyone can be famous. All they have to do is post on social media.”

Designer Restu Anggraini shared a similar view.

“When I just started out, it was really, really difficult to promote our brands,” she said. “It’s totally different now. The digital era has blurred geographical borders. By uploading our items on social media, people from around the world can get to know us.”

Digital double edge

Platforms like Instagram and TikTok have become powerful game-changers. Anyone can now publish and promote their work globally, but those same platforms make copying easier than ever.

“These imitators follow our accounts and zoom in whenever we upload new looks, so they can copy, produce and sell them at a fraction of our prices,” Deden said.

Still, he remains confident.

“They might zoom in, but only the designer truly knows the garment’s inner construction, the details that make it look the way it does.”

Few know this better than Dana Maulana, cofounder of ready-to-wear label Danjyo Hiyoji, one of the most frequently copied brands in Indonesia.

“Our quality speaks for itself,” Dana said. “Those knock-offs will never be as good.”

Beyond using premium fabrics, Danjyo Hiyoji incorporates subtle, intricate details that make its pieces harder to replicate. To strengthen the brand, Dana focuses on building We Are Danjyo Hiyoji, its loyal community.

“We regularly greet them on social media and invite them to our shows,” he said.

Collaboration has also become key. At Senayan City’s Fashion Nation XIX, Danjyo Hiyoji teamed up with streetwear brand Moneyman Works and artist Ade Habibie.

“It’s very important to choose the right collaborators,” Dana noted. “Choose those who share the same values as your brand.”

Designer Wilsen Willim agrees that the right circle can make or break a career.

“You have to put yourself in the right circle,” he said.

The 32-year-old has been among the busiest young designers this year, staging multiple shows and collaborations. At Plaza Indonesia Fashion Week, he teamed up with local beauty label Dear Me Beauty for Garis Waktu (Timeline), a collection reimagining European preppy schoolwear through tailored blazers, coats, cropped jackets and vests, each featuring his signature windmill origami detail.

“We need to learn from the past, design for the present and be ready for the future,” Wilsen said. He credits persistence, or tebal muka [thick skin], for his early breakthroughs.

“In fashion, it always depends on how badly you want it to be successful.”

Rise of AI

Artificial intelligence is now the next major disruptor.

“Young designers have it so easy these days,” Deden said. “With AI, they can turn their sketches into 3D images. But they have to make sure those sketches are their own. That’s what keeps their work original.”

AI tools can now generate full collections, raising ethical concerns, since many are trained on existing works without consent. But when used to visualize a designer’s own concepts, AI can become a creative ally.

Others use AI in business operations. Istafiana Candarini, cofounder of modest-wear label KAMI, employs an AI-driven customer service system on WhatsApp.

“We used to have three shifts of staff to handle customer messages,” she said during In2MotionFest at JIExpo on Oct. 9. “Now it’s all managed by AI, and our customers are very satisfied, they no longer have to wait long for replies.”

“It’s also an incredible cost reduction for us,” she added.

Weathering uncertain economy

Cost efficiency has become vital as fashion businesses navigate a slowing economy.

“At the start of this year, many designers saw a 30 to 50 percent decline in sales,” said Ali Charisma, advisory board member of the Indonesian Fashion Chamber (IFC), during the In2MotionFest.

He attributes the slump to public anxiety after the government’s announcement of a nationwide efficiency program, which included budget cuts for state offices. “Although the measure was only meant for government institutions, many became worried and held on to their money, including what they would usually spend on clothes,” he said.

Fortunately, revenues have begun to recover since August. Still, Ali urged caution, warning that the global slowdown may linger into 2026 due to geopolitical tensions and supply-chain disruptions.

“During such times, consumers become more discerning,” he added. “Workwear, sportswear and special-occasion clothing will remain in demand, but customers will prefer pieces in neutral or earthy tones, with classic silhouettes they can easily mix and match.”

Despite the challenges, Ali remains optimistic.

“Even in unfavorable situations, there’s always a positive side, an opportunity to be found,” he said. “When others choose to step back, there will always be someone who dares to move forward. And if you take that step carefully in 2026, your fashion business might grow even better than expected.”

In this precarious era, resilience itself may be fashion’s most enduring style.

In association with Asia News Network