Penelitian ini mengkaji bagaimana remaja Komunitas Bungah Berkembang merepresentasikan identitas melalui simbol fashion thrifting di Desa Bungah, Kabupaten Gresik, wilayah yang kental nuansa religius pesantren. Menggunakan jenis penelitian kualitatif dengan pendekatan Interaksionisme Simbolik George Herbert Mead, data dikumpulkan melalui observasi, wawancara lima informan, dan dokumentasi, lalu dianalisis dengan model interaktif Miles dan Huberman. Hasil penelitian menunjukkan fashion thrifting bergeser dari motif ekonomi menjadi konsumsi simbolik yang termanifestasi dalam lima kategori gaya. Retro streetwear menjadi simbol pengetahuan subkultur global sekaligus batas sosial dari fast fashion. Baggy (gombrong) dimaknai sebagai kompromi antara kenyamanan berekspresi dengan prinsip kesopanan Islam yang menghindari pakaian ketat. Fashion branded merepresentasikan nilai tanda dan prestise sosial digital tanpa mengabaikan kesederhanaan. Casual menjadi titik temu paling harmonis karena diterima luas dan tetap sopan, sedangkan fashion vintage mencerminkan kedalaman estetika, kepedulian keberlanjutan, dan keselarasan dengan atmosfer religius desa. Pada dimensi Self, kelima gaya tersebut lahir dari dialektika antara dorongan berekspresi bebas (1) dan kepatuhan pada norma pesantren (Me). Media sosial berperan sebagai ruang referensi dan kurasi identitas digital (curated self), sementara Komunitas Bungah Berkembang (Society) berfungsi sebagai ruang aman (safe space) yang memvalidasi identitas dan melindungi remaja dari stigma pakaian bekas. Kesimpulannya, fashion thrifting memfasilitasi remaja pedesaan membangun identitas yang adaptif dan modern, sekaligus membuktikan bahwa modernitas gaya hidup dapat berjalan harmonis tanpa mengikis penghormatan terhadap tatanan religius lokal.


Deskripsi Lain

This study examines how adolescents in the Bungah Berkembang Community represent their identities through the symbols of thrifting in Bungah Village, Gresik Regency, an area with a strong religious atmosphere influenced by Islamic boarding schools. Using a qualitative research design based on George Herbert Mead's Symbolic Interactionism, data were collected through observation, interviews with five informants, and documentation, and then analyzed using the Miles and Huberman interactive model. The research findings show that thrifting has shifted from an economic motive to symbolic consumption, manifested in five style categories. Retro streetwear serves a symbol of global subcultural knowledge well a social boundary against fast fashion. Baggy clothing is interpreted a compromise between the freedom of self-expression and Islamic principles of modesty that discourage tight-fitting garments. Branded fashion represents the value of status symbols and digital social prestige without neglecting simplicity. Casual fashion serves the most harmonious middle ground because it is widely accepted and remains modest, while vintage fashion reflects aesthetic depth, a commitment to sustainability, and harmony with the religious atmosphere of the village. In the "Self" dimension, these five styles emerge from the dialectic between the drive for free expression (I) and adherence to pesantren norms (Me). Social media serves a space for referencing and curating digital identity (the "curated self"), while the Bungah Berkembang Community (Society) functions a safe space that validates identity and protects adolescents from the stigma associated with wearing secondhand clothing. In conclusion, thrifting facilitates rural teenagers in building an adaptive and modern identity, while also demonstrating that a modern lifestyle can coexist harmoniously without eroding respect for local religious traditions.

• FASHION THRIFTING SEBAGAI SIMBOL REPRESENTASI IDENTITAS PADA REMAJA KOMUNITAS BUNGAH BERKEMBANG DI KABUPATEN GRESIK