Translating Place Identity into Textile Motif Design
DOI:
https://doi.org/10.21831/hej.v10i2.101933Keywords:
textile motif design, place identity, design thinking, visual-semantic translation matrix, PangandaranAbstract
Place identity is expressed through symbols, practices, and visual representations. Translating regional identity into textile motifs requires a systematic approach that connects local visual sources with meaningful design decisions. This study aims to identify Pangandaran's visual identity sources, translate them into textile motif compositions, and evaluate the resulting prototype. A practice-based design research approach was employed using a modified design thinking process incorporating a visual-semantic translation matrix. Five visual sources were identified and classified, with the Marlin Fish Monument serving as the primary motif, supported by coastal landscapes, fishing activities, marine biota, and vegetation. These sources were transformed through stylization, visual hierarchy, and repeat pattern development into three design alternatives. The selected coastal panorama composition was evaluated as a digital prototype by 17 respondents comprising textile industry experts, textile design academics, and potential users. Descriptive analysis revealed favourable perceptions of recognizability, visual distinctiveness, aesthetic quality, and textile applicability, with pooled mean scores ranging from 4.3 to 4.9. The findings provide preliminary evidence of perceived regional associations rather than independently verified recognition. This study contributes a traceable visual-semantic translation approach that connects regional identity sources with textile design decisions, offering a methodological reference for developing place-based textile products.
References
[1] R. M. Dias, J. P. Ogle, and S. Diddi, “Constructing cultural identity through weaving among Ri-Bhoi women weavers: A symbolic interactionist approach,” Fashion and Textiles, vol. 7, Art. no. 31, 2020, doi: 10.1186/s40691-020-00220-x.
[2] L. S. Wardani and A. E. Irsyada, “Baluran batik motif as a visual image of regional identity: Exploration of characteristic and symbolic meaning,” Mudra Jurnal Seni Budaya, vol. 41, no. 2, pp. 99–115, 2026, doi: 10.31091/mudra.v41i2.3192.
[3] T. Ratuannisa, C. Tresnadi, A. Nurfitriyana, K. Kahdar, and A. N. Pratiwi, “Color scheme test of color mapping in Batang batik design,” Panggung, vol. 34, no. 4, pp. 516–531, 2024, doi: 10.26742/panggung.v34i4.3581.
[4] M. P. Tresna, A. Chan, and H. Teddy, “City branding of Pangandaran District as a city of tourism,” AdBispreneur: Jurnal Pemikiran dan Penelitian Administrasi Bisnis dan Kewirausahaan, vol. 4, no. 1, pp. 63–71, 2019, doi: 10.24198/adbispreneur.v4i1.19813.
[5] H. Hendriyana, I. N. D. Putra, T. Rinestu, and Y. Y. Sunarya, “Respon kreatif perajin pandan dalam mendukung lingkungan, nilai tambah ekonomi masyarakat, dan pelestarian sumber daya alam,” Panggung, vol. 31, no. 3, 2021, doi: 10.26742/panggung.v31i3.1673.
[6] H. Hendriyana, K. Kudya, and A. S. M. Atamtajani, “Designing marine-park-inspired batik patterns and their application on masks as Pangandaran tourism souvenirs during Covid-19 pandemic,” Journal of Urban Society's Arts, vol. 7, no. 2, pp. 74–82, 2020, doi: 10.24821/jousa.v7i2.4502.
[7] Aljamaliah, S. N. Muslimah, N. Hidayah, Y. F. Furnamasari, K. Kurniawati, and R. Sudarmansyah, “Pemanfaatan alginat pada batik malam dingin melalui proses literasi visual penciptaan motif dan ciri khas Kabupaten Pangandaran bagi siswa SD (Program Sekolah Proyek Kewirausahaan),” BUDIMAS: Jurnal Pengabdian Masyarakat, vol. 5, no. 2, 2023, doi: 10.29040/budimas.v5i2.10977.
[8] T. Dhadphale, “A framework for culturally oriented product design,” in Proc. 26th Int. Conf. Engineering and Product Design Education (E&PDE 2024), London, U.K., 2024, pp. 681–686, doi: 10.35199/EPDE.2024.115.
[9] Y. Yin et al., “Cultural product design concept generation with symbolic semantic information expression using GPT,” in Proc. Design Research Society Conf. (DRS 2024), Boston, MA, USA, 2024, doi: 10.21606/drs.2024.508.
[10] J. Zhao, L. Xie, and Z. Huang, “Cultural visual symbols in intangible cultural heritage branding and their effects on cultural identity and brand preference: Implications for cultural sustainability,” Sustainability, vol. 18, no. 7, Art. no. 3200, 2026, doi: 10.3390/su18073200.
[11] S. Cong, Y. Yuan, L. Wang, and X. Kong, “A user-experience-based design framework for intangible cultural heritage educational tourism: Toward culturally sustainable communication in Hebei, China,” Sustainability, vol. 18, no. 15, Art. no. 7734, 2026, doi: 10.3390/su18157734.
[12] F. Puspitasari, Y. A. Piliang, K. Kahdar, and D. Waskita, “Costume color as a medium of communicating the character changes of warrior Anggini in the film Wiro Sableng (2018),” New Design Ideas, vol. 9, no. 1, pp. 269–286, 2025, doi: 10.62476/ndi.91.269.
[13] A. N. Hidayah and F. Puspitasari, “Pengembangan teknik pencelupan sebagai decorative surface 3D pada busana pesta,” Corak, vol. 15, no. 1, pp. 23–34, 2026.
[14] C. A. Lauff, D. Knight, D. Kotys-Schwartz, and M. E. Rentschler, “The role of prototypes in communication between stakeholders,” Design Studies, vol. 66, pp. 1–34, 2020, doi: 10.1016/j.destud.2019.11.007.
[15] Badan Pusat Statistik Kabupaten Pangandaran, Kabupaten Pangandaran dalam Angka 2025. Pangandaran, Indonesia: BPS Kabupaten Pangandaran, 2025.
[16] S. Rismantojo, V. Sirivesmas, E. Joneurairatana, and W. A. Natalia, “Transforming the Batik Tiga Negeri (Three-Countries Batik) in pleats to represent Indonesia, Malaysia, and Thailand's batik heritage by applying the ATUMICS method,” Archives of Design Research, vol. 37, no. 4, pp. 65–96, 2024.
[17] W. Wesnina, M. Prabawati, and M. Noerharyono, “Integrating traditional and contemporary in digital techniques: The analysis of Indonesian batik motifs evolution,” Cogent Arts & Humanities, vol. 12, no. 1, Art. no. 2474845, 2025.
[18] T. Ilić, B. Banjanin, and I. Pinčjer, “From sketch to animated 3D model: Theatrical costume design,” in Proc. Int. Symp. Graphic Engineering and Design (GRID 2024), Novi Sad, Serbia, 2024, doi: 10.24867/GRID-2024-p30.
[19] A. Kunkhet, D. Chudasri, and N. Sukantamala, “Developing the framework of harmonised shape grammar to regenerate traditional textile patterns,” Asian Journal of Arts and Culture, vol. 22, no. 1, Art. no. 256465, 2022, doi: 10.48048/ajac.2022.256465.
[20] C. S. Peirce, Collected Papers of Charles Sanders Peirce, vol. 2, C. Hartshorne and P. Weiss, Eds. Cambridge, MA, USA: Harvard University Press, 1932.
[21] H. M. Proshansky, A. K. Fabian, and R. Kaminoff, “Place-identity: Physical world socialization of the self,” Journal of Environmental Psychology, vol. 3, no. 1, pp. 57–83, 1983, doi: 10.1016/S0272-4944(83)80021-8.
[22] R. Lin, “Transforming Taiwan aboriginal cultural features into modern product design: A case study of a cross-cultural product design model,” International Journal of Design, vol. 1, no. 2, pp. 45–53, 2007.
[23] K. Koffka, Principles of Gestalt Psychology. New York, NY, USA: Harcourt, Brace and Company, 1935.
[24] W. Wong, Principles of Form and Design. New York, NY, USA: John Wiley & Sons, 1993.
[25] A. Briggs-Goode, Printed Textile Design. London, U.K.: Laurence King Publishing, 2013.
[26] D. Leong and H. Clark, “Culture-based knowledge towards new design thinking and practice—A dialogue,” Design Issues, vol. 19, no. 3, pp. 48–58, 2003.
[27] C. Frayling, “Research in art and design,” Royal College of Art Research Papers, vol. 1, no. 1, pp. 1–5, 1993.
[28] B. Archer, “The nature of research,” Co-design, vol. 2, no. 1, pp. 6–13, 1995.
[29] L. Candy and E. Edmonds, “Practice-based research in the creative arts: Foundations and futures from the front line,” Leonardo, vol. 51, no. 1, pp. 63–69, 2018.
[30] I. Koskinen, J. Zimmerman, T. Binder, J. Redström, and S. Wensveen, Design Research Through Practice: From the Lab, Field, and Showroom. Waltham, MA, USA: Morgan Kaufmann, 2011.
Downloads
Published
How to Cite
Issue
Section
Citation Check
License
Copyright (c) 2026 Feny Puspitasari
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
Focus and Scope
Editorial Team
Reviewer Team
Section Policies
Peer Review Process
Publication Frequency
Open Access Policy
Plagiarism Policy
Indexing & Abstractions
Publication Ethics
Copyright & License
Article Processing Charge
Authorship Diversity
Contact
Reviewer Guidelines
Guiedeline For Reviewing A Manuscript
Formulir Reviewer
Author Guideline
Template Journal
Submit
Author Procedure
