WITH GEMINI, IN CRAFT: POWERING INDONESIA’S NEXT ERA OF CREATIVE INNOVATION

Images courtesy Gemini

Gemini enters the creative landscape as a new collaborator

As AI moves deeper into the creative studio, Google seeks to normalize Gemini among designers, fashion practitioners, artists and craftspeople—not as a replacement for human creativity, but as a powerful new collaborator.

Mira Sumanti, Senior Brand, Creative & Social Marketing, Google SEA

What happens when artificial intelligence enters a creative studio—not to replace the hand, but to extend what the hand can imagine? That question sits at the heart of Google Indonesia’s “With Gemini, In Craft”, presented through Mind, Thread, Vision in Jakarta on September 3. This initiative positions Gemini as a personal, proactive and reliable creative partner, capable of supporting the process from research and ideation to storytelling, visualization, production and commercial development.

Presented by Coulisse | INK

The initiative comes as Indonesia emerges as one of Gemini’s strongest markets globally. Google says around one in two prompts in Indonesia are multimodal, while Indonesian users generate almost nine million images through Gemini every day—the highest volume in Southeast Asia.

With Gemini, In Craft, Google collaborated with three Indonesian fashion labels, each demonstrating a distinct role for Gemini within the creative process.

Mira Sumanti, Senior Brand, Creative & Social Marketing, Google SEA; Veronica Utami, Country Director, Google Indonesia.

For KRATON by Auguste Soesastro, Gemini Deep Research became a research partner, helping access international archives, translate historical documents and investigate genealogy across six ancestral regions. The research provided greater depth and structure to the development of a bespoke couture creation.

At STELLARISSA by Stella Rissa, Gemini expanded an existing human-made idea. Stella’s hand-painted character, Starlet, evolved into a wider creative universe encompassing virtual fashion, animation-podcast concepts and physical 3D art figures. The original artistic gesture remained human; Gemini helped extend its possibilities across new formats.

Meanwhile, TWO STITCHES by Andy Tan and Jerome Kurnia demonstrates a more operational application. Gemini helped translate conceptual sketches into 3D simulations, fabric draping and virtual fitting, compressing a sampling process that could take months into days. Market analysis and pricing benchmarks were also incorporated into the workflow, pointing towards a future in which craft can become more data-informed without becoming less human.

The significance of the initiative lies in how Gemini is positioned: not as the author of the work, but as an accelerator of creative intent. The designer remains responsible for taste, cultural context, judgement and original thinking. What changes is the scale and speed at which an idea can be researched, tested, visualized and communicated.

Stella Rissa also points to prompting as a new creative skill—the ability to articulate an idea with enough precision for AI to understand, develop and extend it.

Ultimately, Google’s Jakarta initiative reaches beyond fashion or technology. It proposes a broader normalization of AI within creative practice, bringing designers, artists and craftspeople into a new dialogue between technology and authorship while keeping cultural authenticity and craftsmanship at the centre.

For Indonesia, where fashion and craft sit deeply within the creative economy, that conversation could be consequential. The next era of creativity may not be about choosing between hand or machine, tradition or technology. It may be about learning how intelligently the two can work together.