CUSTOMER PREFERENCES ANALYSIS FOR DEVELOPING CREATIVITY IN BATIK INDUSTRY

Dr. Aries Susanty, MT1, Arfan Bakhtiar ST. MT.2, Sriyanto ST. MT.3 1,2,3 Diponegoro University, Semarang, In onesia
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ABSTRACT
Batik industry is one of industry that belongs to handicraft sector of creative industry group. In batik industry, creativity development toward its product created pros and cons in batik artisan and the society. At one side, advanced in technology is pushing this industry to use new technology in batiks production. That technology can make the production process more productive and more efficient to win the competition among local, national or global producer of batik. In the other side, there are opinions from some people that batik is art and cultural product so anything from production process of batik must be suit with pakem. It gives us one uestion, how to develop batik industry without ignoring the need and desire of customer and can fulfill the art and cultural values of batik. To answer that, this research use !uality "unction #evelopment $!"#% method to map user demands into design uality, to deploy the functions forming uality, and to deploy methods for achieving the design uality into subsystems and component parts, and ultimately to specific elements of the manufacturing process. This research take survey in &olo and 'ekalongan to elaborate some attributes that is important to development of batik industry. (esult of analysis show us that there are some attribute which is important to development of batik industry and also fulfill the art and culture values of batik, i.e. ) $i% variation and uality of batik design $type of product, finished product, and type of design pattern and color%, $ii% tools and technology development that can make production process of batik easier, $iii% uality of raw material for production process of batik $unbleached plain cloth, wa*, and color essence%, and $iv% use of the rest of cloth from production process of batik become something that useful.

Keywords: batik industry, creativity, uality function deployment.

1. INTRODUCTION 'reative in ustry is an in ustry that re#ies on inte##e&tua# &apita# in pro u&ing &reative pro u&ts an &reating &reative va#ue, (hi&h &om)ine the te&hno#ogy, )usiness, art, an &u#ture. In this &ase, )atik in ustry is one of &reative in ustry that )e#ongs to han i&raft se&tor. Batik in ustry &ou# )e the rea# &reative in ustry, if it &an o the eve#opment of &reativity as &omp#ete#y, in&#u ing person, task, organi*ationa# &onte+t, environment, an pro u&t innovation. Deve#opment of pro u&t innovation is a measure varia)#e in &reating &reative pro u&t, (hi&h is &ru&ia# for the future of )atik pro u&er. 'reativity eve#opment in )atik in ustry to(ar its pro u&t &reate pros an &ons in )atik artisan an the so&iety. At one si e, a van&e in te&hno#ogy is pushing this in ustry to use ne( te&hno#ogy in )atik,s pro u&tion. That te&hno#ogy &an make the pro u&tion pro&ess more pro u&tive an more effi&ient to (in the &ompetition among

#o&a#, nationa# or g#o)a# pro u&er of )atik. In the other si e, there are opinions from some peop#e that )atik is art an &u#tura# pro u&t so anything from pro u&tion pro&ess of )atik must )e suit (ith -pakem-. Base on this situation, it is nee e a stu y a)out ho( to eve#op &reativity in )atik in ustry (hi&h not on#y fu#fi## the &ustomer re.uirement )ut a#so fu#fi## the art an &u#ture /origina#ity0 of )atik. To ans(er the .uestion, this resear&h uses 1ua#ity 2un&tion Dep#oyment /12D0 metho . In this resear&h, 12D resear&h is use to map the re.uirements of &ustomer, government, o)server, in ustry, an retai#er of )atik in or er to shape the (ante esign .ua#ity. 2. LITERATURE REVIEW 2.1 Batik as a C !ati"! I#$%st & 3an i&raft (or# has a very )ig poten&y of )usiness an re#ative#y free from goo (ith g#o)a# )ran hegemony. Base on ata of han i&raft in ustry /(((.#areosing.org0, there are severa# han i&raft in ustries, su&h as

)atik, (oo , si#ver, )room of sugar pa#m fi)er, root"#eaf re&y&#e, o##, earthen(are vesse#s, A)a&a fi)er (oven, an )am)oo. In My)usiness)#ogging.&om, )atik, 4e(e#ry, )ag, an shoes are in&#u ing to han i&raft in ustries. So, )atik &an )e &#assifie as &reative in ustry that )e#ongs to han i&raft se&tor. This is a#so a 4uste )y 5B6I /+lasifikasi Baku ,apangan -saha Indonesia0 approa&h. Batik in ustry is group of in ustry that a&hieves spe&ia# attention from government, )e&ause this in ustry )e#ongs to 7nationa# e&onomi&s a&tivator in ustry- an 7e+port oriente in ustry-. Besi e, this in ustry &an forme &#uster from upstream in ustry /te+ti#e, too#, (a+ in ustry0 unti# o(nstream in ustry /fashion, #inen, an han i&raft in ustry0. 'reativity of )atik in ustry, espe&ia##y for materia#, pattern an motif esign, is inf#uen&e )y market g#o)a# ynami&s. By the te&hno#ogy a van&e , the form of market is )eing &hange . Besi e physi&a# market, no( it is time for on"#ine market. In pro u&tion, )esi e the pro)#em of pro u&tivity an (orkers, the &hemistry of (eaving, printing, an )atiking is raising. Bran ing approa&h an supp#y &hain safety (i## etermine the future of )atik in ho# ing out in g#o)a# market. So that, )atik as &reative in ustry has to a#(ays eve#op the &reativity, espe&ia##y for pro u&t innovation. 2.2 Batik P '$%(t I##'"ati'# 8ro u&t innovation means a ne( (ay in oing something ne(. In the other si e, innovation a#so means the in&reasing an &hanges as ra i&a# in thinking, pro u&ing, pro&ess or organi*ation. A ifferen&e is something spe&ia#, ma e )et(een invention, #ist of i eas an innovations, app#ie i eas /.ckeown /0010. 9oa# of innovation is to rea&h positive &hanges, to make someone or something )etter. Innovation that )ring to(ar pro u&tivity in&reasing is a )ase to in&rease e&onomi&s (ea#th. Batik pro u&t innovation as the art pro u&t is &on&erne (ith the o(n aspe&ts of )atik itse#f, su&h as motif innovation, variety an esign .ua#ity innovation, too# innovation, materia# .ua#ity innovation, an uti#i*ation of materia# resi ue. Motifs of In onesian )atik are ifferent for ea&h area. Batiks from &oasta# areas #ike

8eka#ongan, 6asem, 'ire)on, an Tu)an, prefer to have variation an )righter &o#ors. The i eas of )atik ornamenta# sty#e is very epen on (hat the esigner kno(, (hat he see from his aroun , an (hat he #ike. :o( this, )atik motif is more progressive. Some In onesian )atik artists )#a*e the (ay of mo ern )atik pattern, )y &om)ining tra itiona##y )atik ornamenta# sty#e (ith mo ern &on&ept esign in shape an #ine. Some of )atik artist eve#op a)stra&t )atik )y is&harge te&hno#ogy an paint. Innovation in variation, esign .ua#ity, too#, an te&hno#ogy are starte )y the is&overy of fra&ta# )atik. 2ra&ta# )atik is a esigning pro&ess )y &om)ining three ifferent kno(#e ge is&ip#ines that are s&ien&e /resear&h a)out fra&ta# an )atik0, te&hno#ogy /open sour&e soft(are for esign eve#opment0, an art /app#i&ation at )atik in ustry0. In the other (or , fra&ta# )atik is )atik (hi&h esigning pro&ess )y &omputer /math fra&ta# approa&h0 an making pro&ess as usua# /stamp or (rite0 Materia# innovation &an )e seen )y eve#opment of materia# usage in making )atik. Besi e, there are some )atik pro u&ts that )eing pro u&e )y using re4e&te or rag )atik materia#. 2.) *%a+it& F%#(ti'# D!,+'&-!#t .*FD/ 1ua#ity aspe&t has to )e engage in esign pro&ess of a pro u&t, not on#y in pro u&t inspe&tion pro&ess. 1ua#ity &an )e es&ri)e as meeting of &ustomer re.uirement an va#ue pro u&t provi ing. This is fo&us at &ustomer re.uirement satisfa&tion an states it at te&hni&a# aspe&t, e.g. 1D2 for he#ping to un erstan (hat &ustomer re.uirements an (hat p#an of va#ue pro u&t /'ro(, 2;;20. 1ua#ity 2un&tion Dep#oyment /12D0 is a stru&ture metho to mappe out an eve#op pro u&t that ena)#e eve#opment team to o spe&ifi&ation to the &ustomer esire an nee e , an to eva#uate systemati&a##y the &apa)i#ity of pro u&t or servi&e in fu#fi##ing &ustomer esire. The prin&ip#es of 12D are &at&hing voi&e of the &ustomer an ensuring that the &ustomer nee e is trans#ate into the right strategi&, pro u&t, an pro&ess /Daet*, et.a#, 1<<=$<

2.).1 M!t'$'+'0i *FD Base metho o#ogy of 1ua#ity 2un&tion Dep#oyment /12D0 &onsist of four )ase phase (hi&h o&&ur uring pro u&t eve#opment. During ea&h phase, one or more matri+es are prepare to he#p the mapping out an to &ommuni&ate &riti&a# pro u&t an information pro&ess an esign p#anning /'ro(, 2;;20. These are for phase of 12D metho /'ohen, 1<<=$3110$ a. 8ro u&t p#anning After the &ustomer nee e is i entifie , the preparation of arranging pro u&t p#anning matri+ or 73ouse of 1ua#ity- &an )e starte /'ro(, 2;;20. These &ustomers re.uirement then )e trans#ate into te&hni&a# re.uirement /Daet*, et.a#, 1<<=$110. ). Design 8#anning In this phase, pro u&t te&hni&a# re.uirements are trans#ate into &riti&a# su)systems or part &hara&teristi&. This information e+p#ains a)out the spe&ifi& &omponent to fu#fi## the &ustomer re.uirement /'ro(, 2;;20. &. 8ro&ess 8#anning 12D &ontinue trans#ation an p#anning pro&ess into pro&ess esign phase /'ro(, 2;;20. Team (i## arrange the main pro&ess &urrent or assem)#y pro&ess system, an then e&i es the su)assem)#y pro&ess that is nee e to o the main pro&ess. The operations are )eing one then. /Daet*, et.a#, 1<<=$31>0. . 1ua#ity 8#anning After the pro u&tion pro&ess is etermine , it )e&omes input to fourth phase an (i## )e one a .ua#ity p#anning for it, so the pro u&tion pro&ess &an )e imp#emente as (e## /'ro(, 2;;20. The i entifi&ation of operation parameters is usefu# to &reate the su)assem)#y performan&e. !a&h parameter is spe&ifi& to ea&h operation, not to ea&h pro u&t pro u&e , so these parameters are re#ate to measurement pro&ess an ma&hine s&he u#ing /Daet*, 1<<=$31>0. !very phase of 12D sho(s more spe&ifi& an te&hni&a# pro u&t &on&eption. The re#ationship of ea&h phase is sho(n in the ta)#e 2.1 )e#o($

Table /.2 (elationship of each 'hase

P1as! 8hase 1 " 8ro u&t p#anning 8hase 2 " Design 8#anning 8hase 3 " 8ro&ess 8#anning 8hase > " 1ua#ity 8#anning W1at 'ustomer re.uirement Te&hni&a# &hara&teristi& Spe&ifi& &omponent 8ro u&tion pro&ess 2'3 Te&hni&a# &hara&teristi& Spe&ifi& &omponent 8ro u&tion pro&ess 8ro u&tion re.uirement

2.).2 2'%s! '4 *%a+it& .2O*/ 2irst phase, pro u&t p#anning, is the most inf#uentia# phase. This phase ena)#e to efine the pro u&t e+a&t#y. As this reason, 12D in Ameri&a on#y fo&uses on pro u&t p#anning phase. In ?apan, (here 12D first#y state , 1<@2, 12D is a syntheti& of fun&tion ep#oyment /espe&ia##y a va#ue"engineering approa&h0 an .ua#ity ep#oyment, (hi&h have )een eve#ope an use a#most #ast t(o e&a esA 12D fo&uses on pro u&t p#anning phase /Daet* , 1<<=$130. Matri+ of pro u&t p#anning is kno(n as 73ouse of 1ua#ity- /3B10 /Daet*, 1<<=$130. 2igure 2.1 sho(s the regu#ar shape of pro u&t p#anning matri+. 8arts of 3B1 are$ 1. 'ustomer re.uirement$ &onsist of input from &ustomer a)out the &ustomer re.uirement an esire of a pro u&t or servi&e /'ohen, 1<<=$C<0. 2. Importan&e rating$ ea&h &ustomer re.uirement is rate )y priority (ith 1 to = rating /'ro(, 2;;20. 3. 3ompetitive assessment$ sho(s the eva#uation resu#t of pro u&t position )y &ompetitor /'ro(, 2;;20. >. !uality characteristic$ &onsists of te&hni&a# re.uirement in pro u&t eve#opment. This te&hni&a# re.uirement is o)taine )y eriving &ustomer re.uirement information. Te&hni&a# &hara&teristi& has to have signifi&an&e, measura)#e, an g#o)a# /'ro(, 2;;20. Te&hni&a# &hara&teristi& is a#so sai as metri&. =. 3haracteristic correlation$ &onsist of assessment of re#ation strength )et(een e#ements in te&hni&a# re.uirement. Intera&tion matri+ is use to i entify the tra e"off )et(een te&hni&a# e#ement &on&eptions. Matri+ sho(s intera&tion )et(een te&hni&a# e#ement &on&eptions that sho( the possi)i#ity of re#ationship that are strong, me ium, or (eak. C. (e uirement vs. characteristic $(elationship matri*%$ &onsist of the

re#ationship )et(een &ostumer re.uirement (ith te&hni&a# re.uirement, using sym)o#s to e+p#ain strong, me ium, or (eak re#ationship /'ro(, 2;;20. @. Technical importance$ e+p#ain the priority va#ue of te&hni&a# re.uirement. D. Target values for the characteristic$ etermine target for ea&h te&hni&a# re.uirement. It has a purpose to measure the progress that a&hieve in fu#fi##ing &ustomer re.uirement a&&or ing to ear#y esign that offere . <. Technical benchmarking$ sho( te&hni&a# &omparison )et(een pro u&t an its &ompetitor (ith using te&hni&a# re.uirement. It use s&a#e 1 to = that (i## give information ho( great the pro u&t #eve# )y it &ompetitor.

pro&ess that have )een p#anne (ith &orporate (ay. >. Determine re#ationship in matri+ This (ay,s aim is to etermine re#ationship )et(een e+isting matri+es. The regu#ar (ay is using re#ationship priority matri+ to sho( the re#ationship )et(een te&hni&a# &on&eption an &ustomer re.uirement. =. Do &ompetitive )en&hmarking 'ompetitive )en&hmarking is one to kno( the p#us minus of pro u&t esign &omparing (ith &ompetitor. It is to kno( the pro u&t position. C. Determine target This target is etermine )ase on &orporate a)i#ity, &an )e pre&ise#y (ith esign, )etter or same (ith &ompetitor pro u&t. Make te&hni&a# &orre#ation matri+. Te&hni&a# &orre#ation matri+ is use to sho( the re#evan&e among te&hni&a# spe&ifi&ations ma e. ). RESEARC2 MET2ODOLOGY ).1 R!s!a (1 F a-!3' k Gesear&h frame(ork is e#ineation of resear&h area an a## aspe&ts that e+ist in this making report. In this frame(ork, there are topi&, pro)#ems, resear&h o)4e&t, an resu#t of o)servation. By this frame(ork, (e kno( &#ear#y a)out the &ontent an o)4e&t of resear&h. The resear&h frame(ork is sho(n as figure 3.1.

"igure /.2 4ouse of !uality ESour&e$ Daet*, et.a#, 1<<=$13F Steps in making 3B1 &an fo##o( this gui an&e /'ohen, 1<<=$C<"@>0$ 1. Determine &ustomer re.uirement 'ustomer re.uirement is o)taine from voice of customer that is &o##e&te )y team. This &ustomer re.uirement is sho(n )y statements from intervie(, an then )e trans#ate )e&ome &ustomer re.uirement )ase on (hat #eve# they nee . 2. Determine matri+ p#anning Matri+ p#anning is ma e )ase on interpretation of market ata &o##e&tion. The aim is to &om)ine the &ustomer priority an pro u&er re.uirement. 3. Determine te&hni&a# &on&eption Te&hni&a# &on&eption is a step to etermine the re.uirement of pro u&t an

).2 R!s!a (1 Sta0!s Gesear&h stages &onsist of resear&her steps in oing resear&h from )eginning unti# en . The resear&h stages are sho(n as figure 3.2. ).) R!s!a (1 M'$!+ This is a Gesear&h an Deve#opment a)out &ustomer re.uirement of )atik an eve#opment that have to o to make a eve#opment mo e# of pro u&t innovation &reativity in )atik in ustry. This resear&h uses 1ua#ity 2un&tion Dep#oyment /12D0 metho . 8opu#ation of this resear&h is a## of )atik in ustry, )atik user, an group of )atik o)server in In onesia. This resear&h use purposive samp#ing to get samp#e )ase on the resear&h aim. Samp#e for )atik in ustry (as taken (ith &#uster samp#ing, that (ere )atik in ustry, )atik user, )atik o)server, an government in So#o, 'entra# ?ava.

The resu#t mo e# is e+pe&te &an sho( the per&eption &omparison )et(een resear&h o)4e&ts. This mo e# is ma e in or er to in ustry &an in&rease the &ompetitiveness /.ua#ity, &ost, an effi&ien&y0 an sti## prote&t the art an &u#ture /&reativity an origina#ity0. The resear&h varia)#es, attri)utes, an in i&ators in eve#oping &reativity &an )e seen on ta)#e 3.1 )e#o(. Data &o##e&tion te&hni.ue )ase on resear&h attri)utes that (i## )e measure an epen on the attri)utes &hara&teristi&. So that, there are some too#s that &an )e use to &o##e&t ata, e.g.$ a. 2o&us 9roup Dis&ussion This resear&h use 29D as metho o#ogy to o ana#ysis )ase on fo&us is&ussion from some point of vie( that o rea##y un erstan a)out the pro)#em of &ustomer re.uirement to(ar to &reativity of pro u&t innovation eve#opment in )atik in ustry. ). Do&umentation This resear&h nee e o&ument to get /10 pro u&t innovation eve#opment in eve#opment of esign, too#s, materia#, an rest of )atikA /20 making )atik te&hni.ue an the in ustries &on itionsA

/30 e+hi)ition re#ate to )atik an its eve#opment. Besi e that, o&umentation is a#so in physi&a# evi en&e of a&tivity, su&h as o)servation pi&ture, intervie(, an others that re#ate to resear&h. &. B)servation This resear&h use o)servation to get ata a)out fie# &on ition an to assess per&eption an )ehavior to(ar to )atik eve#opment. . 1uestionnaire This resear&h use .uestionnaire to assess the re.uirement of so&iety /user of )atik0, )atik o)server a)out )atik innovation, an to map the nee of in ustries to eve#op its pro u&t &reativity )ase on &ustomer re.uirement an sti## prote&t the art an &u#ture. e. Intervie( This resear&h use intervie( to kno( the per&eption, &on&eption, information, suggestion, an e+pe&tation a)out &reativity eve#opment for innovation in )atik in ustry, in&#u ing from &ustomers, )atik o)servers, )atik artistes an entrepreneurs, an po#i&y of government.

"igure 5.2 (esearch "ramework

"igure 5./ (esearch &tages

Table 5.2 (esearch 6ariables, Attributes, and Indicators

Va ia5+! Att i5%t! 5in of )atik I#$i(at' Tra itiona# )atik Deve#opment of kin of )atik B# time finishe pro u&t Deve#opment of finishe pro u&t /the &hanges time after time0 B# time pattern Deve#opment of pattern 5in of &o#or Deve#opment an &om)ination of &o#or 5in of too#s Deve#opment of too#s an te&hno#ogy Un)#ea&he p#ain &#oth as genera# Deve#opment of Un)#ea&he p#ain &#oth Batik (a+ as genera# Deve#opment of kin of )atik (a+ Ja+ing te&hni.ue as genera# Deve#opment of (a+ing te&hni.ue 'o#or essen&e as genera# Deve#opment of &o#or essen&e Uti#i*ation of re4e&te )atik pro u&t Uti#i*ation of rest of &#oth

Hariation an esign .ua#ity

2inishe pro u&t

8attern esign 'o#or Deve#opment of too#s an te&hno#ogy Too#sIte&hno#o gy in making )atik Un)#ea&he p#ain &#oth

Materia# .ua#ity

Ja+

mapping in )atik in ustryA /20 mo e# forming of pro u&t innovation &reativity eve#opmentA an /30 mo e# va#i ation for four imensions, that are /a0 variation an .ua#ity of )atik esign, /)0 too#s an te&hno#ogy eve#opment, /&0 .ua#ity of ra( materia# eve#opment, an / 0 use of the rest of &#oth of )atik pro&ess eve#opment. Ha#i ation of this &reativity eve#opment mo e# uses &ontent va#i ity. 'ontent va#i ity is a su)4e&tive measurement a)out the feasi)i#ity of .uestion items, (hi&h is one )y revie(er that have &apa)i#ity, an kno(#e ge a)out the materia#. Gevie( is one to ensure that instrument have &onsiste the entire thing to kno( an free from anything that are not re#ate . It a#so uses to see the re#evan&e an fo&us of .uestions item (ith varia)#e. This va#i ity is not )e statisti&a##y .uantifie , )ut represent entire opinion from group of goo assessor. !+pert for ea&h stakeho# er oes va#i ityA those are government as po#i&y maker, )atik o)servers, an )atik in ustries. 8. RESULT AND DISCUSSION 8.1 C%st'-! R!7%i !-!#t In this resear&h there are t(o attri)utes of &ustomerA these are &ustomer re.uirement attri)ute in &ase of &reativity eve#opment of )atik in ustry, an &ustomer re.uirement attri)ute as )atik user. 8.1.1 C%st'-! R!7%i !-!#t as Batik Us! Ta)#e >.1 is 12D resu#t of &ustomer re.uirement as )atik user. Table 7.2 (ank of 3ustomer (e uirement as Batik -ser
C%st'-! R!7%i !-!#t .W1at9s/ 'o#orfast Motif K &o#or variation Uni.ue esign Affor a)#e 'omfort use 9oo "#ooking K neat 9oo main materia# K ura)#e Si#ky 2#e+i)#e !asy to take &are 8ro u&t variation Te&hno#ogy usage in making )atik Brigina#ity an e+&#usive motif W!i01t : i-,' ta#(! 3.>D 3.22 3.31 3.2= 3.=C 3.=< 3.D 3.3= 3.22 3.C3 3.=D 3.21 3.12 R!+ati"! W!i01t @.< @.3 @.= @.3 D D.1 D.C @.C @.3 D.2 D.1 @.2 @ Ra#k C < D 1; = 3 1 @ 11 2 > 12 13

'o#or essen&e Use of use of Ge4e&te )atik the rest of &#oth from pro u&tion Gest of &#oth pro&ess Sour&e$ Ama#ia, 2;;D

This resear&h mo e# &onsists of resear&h re.uirement /12D0 an mo e# eve#opment. ).).1 Sta0! 1 6 R!s!a (1 R!7%i !-!#t .%si#0 *FD/ :ee assessment (as one to kno( the eve#opment )y 12D re.uirement ana#ysis. Data &o##e&tion (as one at 29D )y is&ussion an a mission fi##ing of .uestionnaire )y stakeho# er an &ustomer ire&t#y. Stages in oing ana#ysis are /10 measurement of re.uirement #eve# in )atik &reativity eve#opment from pro u&er /in ustries0 point of vie(A /20 &ustomer re.uirement to(ar &reativity eve#opment in )atik in ustryA an /30 &ustomer re.uirement as )atik user. ).).2 Sta0! 2 6 M'$!+ D!"!+',-!#t This stage &onsists of three stages are /10 &reativity eve#opment re.uirement

Base on ta)#e >.1 (e &an see that &ustomer re.uirements of )atik pro u&t are &o#orfast, motif an &o#or variation, uni.ue esign, affor a)#e, &omfort use , goo " #ooking an neat, goo main materia# an ura)#e, si#ky, f#e+i)#e, easy to take &are, pro u&t variation, te&hno#ogy usage in making )atik, origina#ity an e+&#usive motif. By seeing the 3B1, it &an )e kno(n that the important &ustomer re.uirement is goo main materia# an ura)#e. 2or main materia# of &#oth, goo an &oo# &otton is usua##y use . 'ustomers (ant an easy take &are &#othes. So, it is nee e a goo &o#oring te&hni.ue in or er to pro u&e )atik that &o#orfast an easy to take &are. Besi e that, &ustomers a#so (ant a neat an goo " #ooking pro u&t an have variation esign. Therefore, it nee s a maintaining of .ua#ity an &reativity of artisan in making pro u&ts. Table 7./ Technical (esponse of 3ustomer (e uirement as Batik -ser
T!(1#i(a+ R!s,'#s! 1ua#ity of main materia# 1ua#ity of au+i#iary materia# Jorking too#s Design Artisan ski## W!i01t : i-,' ta#(! ><3.3 22<.= 1>=.> 3=<.1 31@.3 R!+ati"! W!i01t 31.< 1>.< <.> 23.2 2;.= Ra#k 1 > = 2 3

Table 7.5 (ank of 3ustomer (e uirement in 3reativity #evelopment of Batik Industry

C%st'-! R!7%i !-!#t .W1at9s/ Hariation K esign .ua#ity Too#s K te&hno#ogy usage 'reation of )atik eve#opment app#i&ation Use of the rest of )atik 8ri&e 5in of )atik variation 2inishe pro u&t esign variation Motif variation 'o#or variation Te&hno#ogy usage in making )atik Batik too#s eve#opment Batik te&hni.ue eve#opment 'reation of materia# usage Ja+ eve#opment Ja+ing te&hni.ue eve#opment 'o#or essen&e usage W!i01t : i-,' ta#(! >.D 2.D= 3.1 2.;= 3.1= >.1= 3.D 3.3= 2.== >.1= 3.@ >.1= >.>= 3.1= 3.== 2.D= R!+ati"! W!i01t D.C =.1 =.C 3.@ =.C @.> C.D C >.C @.> C.C @.> D =.C C.> =.1 Ra#k 1 13 1; 1C 11 3 C < 1= > @ = 2 12 D 1>

Ta)#e >.2 is te&hni&a# response ta)#e of &ustomer re.uirement I &ontri)ution as )atik user. These te&hni&a# response fa&tors in improving .ua#ity of batik tulis pro u&t )ase on 3B1 are .ua#ity of main materia#, .ua#ity of au+i#iary materia#, (orking too#s, esign, an artisan ski##. Base on 3B1, it is kno(n that the prime te&hni&a# response are .ua#ity of main materia# an esign, )e&ause &ustomers usua##y (ant a pro u&t that &omfort to use, &o#orfast, easy to take &are, goo "#ooking an uni.ue esign. 8.1.2 C%st'-! R!7%i !-!#t i# C !ati"it& D!"!+',-!#t '4 Batik I#$%st & Ta)#e >.3 is 12D resu#t of &ustomer re.uirement in &reativity eve#opment of )atik in ustry.

By 12D, (e get (eight or importan&e va#ue for ea&h re.uirement. These va#ues then )eing se.uen&e )ase on ea&h importan&e. 2rom ta)#e >.3 (e &an see that the most important attri)ute for &ustomers is variation an esign .ua#ity. It is important to eve#op this attri)ute. Hariation of pro u&t &an )e one )y mo ifying the materia#. The materia# use is not on#y in the form of &#oth, )ut a#so mo ifie )y using other materia#s. 'reativity in eve#oping )atik must )e fo##o(e )y te&hno#ogy a van&e in making )atik. Then a&&or ing to &ustomer voi&e, in eve#oping )atik, the thing that (e must o is the eve#opment of making )atik te&hni.ue, either in &o#oring or (a+ing te&hni.ue. Table 7./ Technical (esponse of 3ustomer (e uirement in 3reativity #evelopment of Batik Industry
C%st'-! R!7%i !-!#t .W1at9s/ 'hanges of main me ia of )atik Materia# .ua#ity 3uman resour&es &apa)i#ity 8ro u&tion &ost :e( too# pur&hasing !+periment on ne( &o#or, (a+, K te&hni.ue Soft(are usage as evi&e W!i01t : i-,' ta#(! 1DD.@ 1D@.< 21@.@ D>.1 233.< 2@@.> 1=1.1 R!+ati"! W!i01t 1;.3 1;.3 11.< >.C 12.D 1=.2 D.3 Ra#k = C > < 3 2 @

Table 7./ Technical (esponse of 3ustomer (e uirement in 3reativity #evelopment of Batik Industry $continued%
C%st'-! R!7%i !-!#t .W1at9s/ Artisan ski## Training Survey on another )atik in ustry W!i01t : i-,' ta#(! 2<<.@ @2.C 112.> R!+ati"! W!i01t 1<.> > C.2 Ra#k 1 1; D

is an important thing in )atik sa#e, it is nee e to maintain the .ua#ity of )atik su&h as me ia .ua#ity, (a+ .ua#ity, &o#or essen&e .ua#ity, an making pro&ess .ua#ity. Table 7.8 (ank of Importance in 3reativity #evelopment of Batik Industry from In ustries an B)servers 8oint of Hie(
N ' Va ia5+! Di-!#si'# Hariation Too#s an te&hno#ogy usage 'reation of (a+ an &o#or essen&e app#i&ation Use of the rest of )atik &#oth 8ri&e 9overnment ro#e 5in of )atik variation Design variation Motif variation 'o#or 'reation of materia# usage Ja+ materia# eve#opment Ja+ing te&hni.ue eve#opment 'o#or essen&e usage Use of re4e&te pro u&t Use of the rest of &#oth Motif variation 8ro u&t .ua#ity Materia# .ua#ity 8ro u&t esign 8ro u&tion time 8ri&e Dai#y usage I-,' ta#(! s!7%!#(! a"! a0! 1.13 2.2C 3.;; >.<3 >.@3 >.D@ 1.D; 3.;; 2.;; 3.;; 2.2@ 2.>@ 2.<3 2.C; 1.C@ 1.33 3.2@ 2.<3 3.<3 2.C3 C.<3 3.D@ C.@3 a#k 1 2 3 C > = 1 3 2 > 1 2 > 3 2 1 3 2 = 1 @ > C

Te&hni&a# response fa&tors in eve#oping &reativity of batik tulis in ustry )ase on 3B1 are &hanges of main me ia of )atik, materia# .ua#ity, human resour&es &apa)i#ity, pro u&tion &ost, ne( too# pur&hasing, e+periment on ne( &o#or, (a+, K te&hni.ue, soft(are usage as evi&e, artisan ski##, training, an survey on another )atik in ustry. 2rom a## these response, the most important response is artisan ski##, )e&ause in )atik in ustry artisan is pioneer in oing mu&h kin of innovations. Artisan &an o e+periment on ne( esign, &o#or, an me ia. This )e&omes the instrument in eve#oping )atik in ustry. 8.2 Ra#k '4 I-,' ta#(! i# C !ati"it& D!"!+',-!#t '4 Batik I#$%st & Ta)#e >.= sho(s 12D resu#t of rank of importan&e in &reativity eve#opment of )atik in ustry from in ustries an o)servers point of vie(. In ta)#e >.=, )ase on pro u&er,s point of vie(, the most important thing to o in )atik eve#opment is the in&rease of pro u&t variations. It nee s improvement in usage of ne( too#s an te&hno#ogy )ut sti## prote&t the true &u#ture of making )atik. The most important variation eve#opment is )y using ne( materia# as ne( me ia variations. These me ia are (oo , #eather, an g#ass. This me ia innovation is e+pe&te &an enri&h the )atik pro u&t. A&&or ing to pro u&ers, the most important of materia# .ua#ity eve#opment is &reativity in materia# usage, #ike me ia &hanges. Besi e, the usage of the rest of )atik &#oth is a#so an important innovation in )atik eve#opment. The rest of pro u&tion &an )e ma e up )e&ome o##, key ring, an another han i&raft. In eve#oping the pro u&tion, pro u&ers a#so &onsi er the &ustomer re.uirement. A&&or ing to pro u&ers, the &ustomer &onsi eration in )uying )atik is )atik esign. Therefore, pro u&ers nee to pay attention to )atik esign )y &reating ne( motif, uni.ue, an have their o(n e+&#usivity. As pro u&t .ua#ity

'onsi erati on in )atik eve#opme nt

Hariation eve#opme nt

Materia# .ua#ity eve#opme nt

>

Use of the rest of )atik pro u&tion

'onsi erati on of &ustomer in )uying )atik

Base on is&ussion resu#t /29D0, it is turne out that innovation is nee e in a## )atik in ustry. Jithout innovation, )atik pro u&t (i## )e stati& an surfeite . 8ro u&t has to )e a#(ays &hange )e&ause &ustomer a#(ays intereste )y something ne(. Therefore, it nee to in&rease the a)i#ity to esign pro u&t (ith #o( &ost materia#, uti#i*e the rest an (aste /no &ost materia#0, an in&rease effort to give va#ue a e to )atik pro u&t. 2un amenta##y, )atik in ustry &an eve#op its pro u&t innovation &ontinua##y either in variation an esign .ua#ity /kin of )atik, o(nstream pro u&t, motif an pattern esign, an &o#or0, materia# .ua#ity, too#s an te&hno#ogy, or (aste uti#i*ation. 3o(ever, the pro&ess must use (a+ as perintang. Base

on 29D, &reativity eve#opments in )atik in ustry no(a ays are$ 8.2.1 Va iati'# a#$ D!si0# *%a+it& Design is the main fa&tor that istinguishes )et(een &reative in ustry an regu#ar in ustry. Base on is&ussion, there are t(o kin of )atik, (hi&h is batik tulis an batik cap. As a)reast of times, kin of )atik in&rease , #ike printing )atik an &om)ination )atik. This printing )atik a&tua##y &annot )e sai as )atik, )ut on#y te+ti#e (ith )atik motif. It is )e&ause the making pro&ess oes not use (a+ as 9at perintang. 'om)ination )atik is )atik, (hi&h is ma e )y &om)ining printing te&hno#ogy an (a+ as 9at perintang #ike in batik tulis. 'om)ination )atik is sai as semi )atik, )e&ause its partia# pro&ess oes not use 9at perintang /(a+0. It &on&#u es that )atik is a pro&ess, not on#y as motif. Batik pro&ess is a pro&ess using (a+ as 9at perintang. If the pro&ess oes not use 9at perintang, so the pro u&t is not )atik. The &reativity eve#opment of )atik is a##o(e as #ong as sti## using (a+ as 9at perintang in its pro&ess. :ot on#y in kin of )atik, eve#opment is a#so happene to o(nstream pro u&t. There are many o(nstream pro u&ts no(a aysA those are &#othes, fashions, #inen, househo# , san a#, (a##et, )ag, o##, an another han i&raft. It signs that there is &reativity eve#opment in o(nstream pro u&t. Those ays, o(nstream pro u&t is on#y #ong &#othes. 'reativity in making o(nstream pro u&t is a#(ays eve#oping, so &ustomers I so&iety are not )ore to &ertain pro u&t. Do(nstream pro u&ts, espe&ia##y fashions, are a#(ays up to ate (ith &urrent mo e. Motif an pattern esign is very mu&h an high#y varie . Deve#opment starte from tra itiona# motif #ike parang, kawung, et&, unti# mo ern motif #ike &ontemporary an a)stra&t. Motif is mu&h re#ate to 8akem. 8akem in motif &an hamper the in ustry eve#opment )e&ause tra itiona# motif is on#y the one a##o(e . Bne of the en&ouragements of motif &reativity eve#opment is the re.uirement of &ustomer that keen on ifferent motif of )atik a#ong (ith time &hanges. The e+isten&e of pros an &ons to(ar motif an pattern esign no(a ays &an )e ire&te to e+pression an &reativity free om (ithout

erase the tra itiona# motif an pattern esign /'akem0. In e+amp#e$ in ustries eve#op motif from tra itiona# motif or make a tru#y ne( esign out of 'akem. Some o# "fashion peop#e oppose the a&tion. :everthe#ess, it turns out to )e that a&tion is getting more attention from &ustomer an others. These eve#opments &an make )atik )e&ome a#ive an (e## kno(n. It &an )e &on&#u e that &reativity eve#opment in making motif an pattern esign must )e one. Bn the other si e, tra itiona# motif an pattern esign has to )e &ontinue an sti## use epen on &ustomerIin ustry (i##ing or epen on in ustria# strategy. The te&hno#ogy usage in esign making is not a pro)#em as #ong as it oes not &hange )atik making pro&ess that uses (a+ /9at perintang0. The o# (ay in giving &o#or in )atik is inf#uen&e )y #o&ation. Batik from &oasta# area #ike 8eka#ongan, 6asem, 'ire)on, an Tu)an, prefer to use varie #ight &o#ors. This inf#uen&e &ame from another &ountry, (hi&h these areas (ere &a## port )y many foreign tra ers. This )rought effe&t varies of &o#or. Bn the other si e, )atik from out)a&k #ike So#o an Logya prefer to ark &o#or, )#ue, )ro(n, or )#a&kish. But no(a ays, the &o#or is a 4uste (ith tren an &ustomer nee , e.g. in ustries from 8eka#ongan /&oasta# area0 make ark )atik to )e so# in So#o /out)a&k0 an make #ight &o#orfu# )atik to )e so# in area that #ike &o#orfu# )atik. 8.2.2 Mat! ia+ *%a+it& In &reativity eve#opment, materia#s /#ike &#oth, (a+, an &o#or essen&e0 (ere not &onspi&uous. 'reativity in esigning pro u&t, (hi&h use #o( &ost materia#, usage of se&on s materia# /se&on s (a+, re4e&te &#oth, se&on s &o#or essen&e0 in or er to give a va#ue a e , is sti## nee to )e improve . Base on 29D, materia#, in &ase as )atik me ia, have )een eve#oping an innovating a&&or ing to market re.uirement an market segment of pro u&er. The )eginning main materia#s of )atik are &otton, si#k, shantung, an no( it is eve#ope )e&ome (oo , pineapp#e fi)er, an #eather. Me ia,s eve#opments are a 4uste )y &ustomer re.uirementA these are$ /a0 2ashion$ using &#othA /)0 Interior$ using #eather an (oo . In eve#oping i ea of )atik me ia, pro u&er makes the samp#e of pro u&t to )e eva#uate

first. Then it is sho(e in an e+hi)ition. If it get goo response from &ustomer an get mu&h or er, it (i## )e pro u&e )y mass. :o(a ays, it is on#y #eather an (oo for ne( me ia of )atik. 8ro u&tion pro&ess of ne( pro u&t &annot )e one in mass pro u&tion ire&t#y )ut it sti## a &ustomi*e pro u&t. 8ro u&er &annot take spe&u#ation. So pro u&tion (i## epen on ho( response from e+hi)ition visitor. 'reativity an innovation in )atik are very important either for batik tulis or for batik cap. B)server an some of in ustries o not agree eve#opment of 9at perintang /(a+ing0. 'erintang gives #imitation to part of &#oth in or er to not )e &o#ore at &o#oring pro&ess. 'erintang materia# in :umputan pro&ess uses ru))er"ring or raffia. 3o(ever, a&&or ing to pakem, )atik is a pro&ess using (a+ as perintang an a pro&ess using han ma e (riting /tulis0 or stamp /cap0. The (eaknesses of using (a+ are heat unresisting an )roken easi#y, so there (i## )e &o#or enter to the &#oth. The pro)#em is ho( to use (a+ as perintang )ut un)roken. The (ays are$ /10 Ja+ mi+ture usage is ifferent for ea&h &#oth, so it nee s &arefu#ness in )uying (a+ .ua#ityA /20 The rest of (a+ &an )e re&y&#e an )e so# A /30 8ri&e of )atik is epen on pro&ess, .ua#ity, an )uyer. The )iggest part of &ost is for (orkers. It is up to =;M. 2or materia#, it is on#y 1;"2;M Those ays, they use natura# &o#or essen&e to &o#or )atik. This natura# &o#or essen&e (as taken from mahogany an nila. Then it is eve#ope natura# &o#oring (ith onion pee#, &o&onut fi)er, &herry, et&. no(a ays, it uses syntheti& &o#or essen&e. The a vantage of using natura# &o#or essen&e is environmenta##y save, )ut it natura# e+p#orative too. If on#y (e have our o(n farm to p#ant natura# &o#or essen&e resour&e. The a vantages of syntheti& &o#or essen&e are easier to use, )righter &o#or, an more varie . The )a effe&ts are (ater po##ution, skin irritation, an skin &an&er. The &om)ination of syntheti& &o#or essen&e is epen s on e+periment an innovation of pro u&er. The re&ipes of ea&h &o#or )e&ome the &ompany se&ret. The &om)ination of &o#or is a#so epen s on &ustomer eman , (ater p3, an origina# &o#or from fa)ri&.

The effort to appear ne( tren &o#or is happene no(. They are$ /10 omesti& &ustomer is ten to neutra# &o#orA /20 using gui an&e su&h as )ook gui an&e from 8aris for foreign &ustomer 8.2.) T''+s a#$ T!(1#'+'0& D!"!+',-!#t Up unti# no(, making )atik pro&ess use to use stamp an &anting that ma e )y &opper. Me ium in ustry su&&essfu##y &reate a ne( stamp too# )y using (ater hya&inth, rep#a&e &opper stamp too# )y (oo an use sma## )rush. Too#s for making )atik are easy to get from artisan or )y )uy it in +lewer market. There are innovations in too#s an te&hno#ogy eve#opment. Some of )ig in ustry use &omputer for graphi& esign, use han print, use f#at an rotary printing ma&hine, an use e#e&tri& &anting. In one si e, this is kin of effi&ien&y, )ut in other si e, printing )atik &annot )e sai as 7)atik-. The appearan&e of printing te&hno#ogy is not a pro)#em for the eve#opment of )atik tu#is itse#f. Batik tulis has it o(n market segment. 8rinting )atik is on#y a te+ti#e (ith )atik motif. This printing te+ti#e has a servi&e in promoting )atik motif. Batik tu#is has varie &o#or more than printing )atik. Besi e the eve#opment of too#s, esigning te&hni.ue is a#so a eve#opment in )atik. It use to )e manua# esign, )ut no( it uses &omputer esign an fra&ta# )atik soft(are. :everthe#ess, there are sti## mu&h &onstraints, e.g. &omputer esign is #ess f#e+i)#e, #ong pro&ess of making fra&ta# )atik, an #ess peop#e &an use that soft(are. 8.2.8 T1! Usa0! '4 Batik C+'t1 R!st Ge4e&te )atik is )roken )atik &ause )y pro u&tion error an &annot )e use anymore. Most un&onformity is amage materia# or amage &o#or /)#emishe &o#or0. Ge4e&te )atik &an )e repro u&e )e&ome key ring, #itt#e o##, &#othes, an another han i&raft. There are three things one to anti&ipate re4e&te )atik, i.e. 1. 'hange into o(nstream pro u&t /en pro u&t0 2or e+amp#es$ there is rippe )atik &#oth, pro u&tion is &ontinue , )ut the o(nstream pro u&t &an )e ma e )e&ome &#othes, )ag, et& /e+&ept #ong &#oth0 in or er to isappear the rippe . 2or

amage &o#or &#oth, &an )e ma e into pat&h(ork pro u&t. 2. Ge"pro u&tion 2or e+amp#es$ there is an error in &o#oring, if it possi)#e, the &o#or is repaire )y oing re"pro u&tion. 3. Use )y artisan itse#f. Besi e of re4e&te )atik usage, there is rag )atik usage. Gag )atik is the rest of )atik &#oth that not )e use . Gag )atik &an )e mo ifie into o(nstream pro u&t )y pat&h(ork pro&ess mo e#. To get high pri&e an to give va#ue a e to rag )atik, (e have to make a pattern for pat&h pro&ess. Then pat&h(ork is pat&he )ase on pattern. 8attern, &o#or, an motif aptitu e is a kin of &reativity. It makes pro u&t )e&ome (orth in &ustomer. Besi e pat&h pro&ess, rag )atik &an )e ma e to another han i&raft su&h as o## an ,iping art. ,iping art is some kin #ike pi&ture rep#i&a, usua##y ma e from #itt#e rag )atik /1"2 &m0 8.) R!7%i !-!#t i# Batik D!"!+',i#0 C'-,a is'# A#a+&sis 5!t3!!# P '$%(! a#$ O5s! "! P'i#t O4 Vi!3 a#$ C%st'-! P'i#t O4 Vi!3 Base on 21D an 12D, it &an )e &on&#u e that there is simi#arity argument a)out re.uirement in &reativity eve#opment of )atik in ustry )et(een pro u&er"o)server an &ustomer. The (ays are )y in&reasing )atik variation an using of ne( too#s an te&hno#ogy. A&&or ing to &ustomer, )atik in ustry eve#opment &an )e )y using ne( too#s an te&hno#ogy )ut sti## keeping tra itiona# e+&#usivity. 8ro u&er &an use mo ern too#s as #ong as o )atik making pro&ess &orre&t#y. 'onsumer prefer to printing )atik that is &heaper. Bn the other si e, &ustomer sti## re.uires )atik making pro&ess proper (ith art an &u#ture. Si#k"s&reening pro&ess in (a+ing &an press the pro u&tion &ost an sti## proper (ith 7pakem batik-. A&&or ing to )oth of pro u&er an &ustomer, variation of )atik me ia &an )e the important thing in eve#oping &reativity. :e( me ia usage su&h as (oo , #eather, g#ass, an &erami& &an enri&h )atik pro u&ts. 'onstraints in &reativity eve#opment are #ess of too#s, #ess te&hno#ogi&a# kno(#e ge, #ess of fun , #ess of a&&ess (ith (or# at

#arge, #ess of &reative human resour&es, iffi&u#t to patent the motif, the e+isten&e of printing )atik that imitate batik tulis, market &on ition that sti## poor han at the tru#y )atik essen&e. To support &reativity, it is nee e to o training, survey to another pro u&er, an e u&ation a)out ho( to make )atik, the history, an the &u#ture of )atik. 9overnment is suppose to support the &reativity eve#opment )y making regu#ation that prote&t )atik, fa&i#itate )atik trainings, an he#p to provi e ne( too#s an te&hno#ogy. 8.8 T1! R'+! '4 Stak!1'+$! 4' D!"!+',i#0 C !ati"it& i# Batik I#$%st & Deve#opment in )atik in ustry is re#ate (ith the ro#e of government, &ustomer, retai#er, an o)server. These are the ro#e of ea&h stakeho# er$ /)ase on 29D0 1. Getai#er Getai#er gives information to pro u&er a)out the re.uirement of &ustomer. :o(a ays, there is goo &ommuni&ation )et(een retai#er an pro u&er. They o mutua# epen en&e. Getai#er gives information a)out (hat &ustomer #ikes, an gets information from pro u&er a)out kin s of )atik. 2. Batik o)server :o(a ays, )atik o)server he#ps eve#opment of )atik in ustry )y )eing the motor of )atik regeneration. Go#e of o)server &ou# )e )y oing resear&h, )eing me iator )et(een pro u&er an government, giving e u&ation to so&iety, et&. 3. 9overnment 9overnment gives e u&ation to so&iety a)out )atik )y$ /10 making regu#ation a)out &urri&u#um of )atik in e u&ationa# epartment, /20 #a)e#ing )atik /tu#isI&ap0 or printing )atik /te+ti#e (ith )atik motif0 as appre&iation. 9overnment makes a po#i&y a)out )atik usage in so&iety. >. 8ro u&er I )atik in ustry Go#es of pro u&er, su&h as$ /10 &ontinuing in &reate innovative )atikA /20 oing so&ia#i*ation to so&ietyI&ustomer a)out )atikA /30 &o##a)orating (ith government, e u&ation epartment, an o)server in ho# ing agen as re#ate to )atik eve#opment, i.e. e+hi)ition, seminar, (orkshop, et&A />0 a&tivating upstream pro u&er /&o#or essen&e, (a+, main materia#, et&.0

=. 'ustomer Go#es of &ustomer, su&h as$ /10 un erstan ing )atik an its eve#opment, /20 using )atik as a pri e of nationa# pro u&t an promoting nationa# &reation to others. ;. CONCLUSIONS This resear&h &on&#u es$ a. Base on re.uirement i entifi&ation, the most &ustomer te&hni&a# response is .ua#ity of materia# an esign. ). The )iggest importan&e #eve# or &ustomer response to &reativity eve#opment is ski## of artisan. &. 'reativity eve#opment in making variation an esign .ua#ity is mu&h nee e . A&&or ing to pro u&er /)atik in ustry0 an o)server, the most &onsi eration in eve#oping )atik is in&rease of )atik variations. This nee s improvement on usage of ne( too#s an te&hno#ogy, (hi&h is keeping the rea# &u#ture of making )atik pro&ess. . Hariation an esign .ua#ity for kin s of )atik, o(nstream pro u&t, motif esign, an &o#ors, &ou# )e &ontinue eve#ope as #ong as the pro&ess uses (a+ as 9at perintang. e. It nee s an un erstan ing a)out )atik an intro u&tion )atik to (ho#e so&iety. f. Batik in ustry eve#opment a#(ays re#ate to government ro#e as po#i&y maker an it is a#(ays nee e . <. SUGGESTIONS This resear&h resu#t &an )e &ontinue )y eve#oping of &reativity mo e# an fi#e imp#ementation to improve the ro#e of stakeho# er an )e&ome &onne&tor for stakeho# er in eve#oping )atik in ustry in entire In onesia. 9overnment is suppose to make something #ike )#ue print that manage )y a spe&ia# organi*ation to manage the eve#opment of )atik so there (i## )e ata a)out motif, patent, et&. This (i## fa&i#itate in ustry, so&iety, an o)server to kno( the eve#opment of )atik, so they (i## have a measuring"ro for it. 9overnment &an makes a po#i&y a)out )atik usage in so&iety. =. REFERENCES 1. Ama#ia, 2;;D, Analisa "aktor;faktor yang .empengaruhi 'engembangan

+reativitas di Industri +era:inan Batik, Universitas Diponegoro, Semarang. 2. 'ohen, 6ou, 1<<=, !uality "unction #eployment) 4ow to .ake !"# <ork for =ou, USA$ A isonNJes#ey. 3. 'ro(, 5enneth, 2;;2, 3ustomer;"ocused #evelopment with !"#, DGM Asso&iates. >. Daet*, Doug, Bi## Barnar K Gi&k :orman, /1<<=0, 3ustomer Integration) The !uality "unction #eployment $!"#% ,eaders >uide for #ecision .aking. USA$ ?ohn Ji##ey an Sons In&. =. Is ianto, Drs. Bu i MSn, 2;;D, .ense:ahterakan .asyarakat melalui 'engembangan Industri +reatif ? &ektor +era:inan, 2ak. Seni Gupa an Desain, Institut Tekno#ogi Ban ung, Ban ung. C. 5usuma, Tanti Ji4aya an Davi 3ar4ono. 2;;=. Ana#isa 8er)an ingan :i#ai Bu aya 8engguna Batik So#o engan Menggunakan (okeach 6alue. 8etra 'hristian University 6i)rary. @. 6it(in, Mark S., 1<<=, The &urvey +it$ 4ow to .easure &urvey (eliability and 6alidity, SA9! 8u)#i&ations, 6on on. D. 6ukman, Muhamma , ST, MT, Lun haria i, Drs. A&hma 3a# ani Destiarman , M. Sn., 2;;@, Batik 2ra&ta#$ Tra itiona# Art to Mo ern 'omp#e+ity, Ban ung Institute of Te&hno#ogy, Ban ung, http$II(((.generativeart.&om <. Mi*uno, Shigeru K Lo4i Akao, 1<<>, !"#) The 3ustomer;#riven Approach to !uality 'lanning and #eployment, ?apan$ Asian 8ro u&tivity Brgani*ation.