ETHNIC INFLUENCES
on
HAWAIIAN FASHION
an exhibit by
Dr. Linda Boynton Arthur
Dr. Mary Ellen Des Jarlais
Mr. Dewey Cook
Department of Human Resources
College of Tropical Agriculture and
Human Resources, University of Hawai’i at Manoa
An Exhibition of Historic Costume at the Prince Kuhio Federal Office Building,
August 14-25, 1995
Sponsored by Senator Daniel Inouye, Curated by Dr. Linda Boynton Arthur
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ETHNIC INFLUENCES ON HAWAIIAN COSTUME
Dr. Linda Boynton Arthur, Curator
CTAHR Historic Costume Collections
University of Hawai'i at Manoa
Reflecting the state of Hawai'i's cultural diversity, Hawaiian clothing has become a visual testament to both ethnic integration and ethnic diversity. As new immigrants entered Hawai'i in the nineteenth century, they brought with them their traditional dress and design concepts. Over time, many of these design features have been incorporated into Hawaiian costume. Fashion designers, both on the mainland and here in Hawai'i, constantly search the world for design inspiration. The unique cultural landscape of Hawai'i has proven to be a fertile ground for fashion designers.
The focus of this exhibit is to show how the ethnic costume design brought by the major immigrant groups into Hawai'i has had an impact on contemporary Hawaiian costume. Not all of Hawai'i's ethnic groups are presented in this exhibit. Because the collection is the result of private donations, it does not represent the totality of Hawai'i's cultural heritage. Unfortunately, for many groups we have no costumes. We would like to have a more representative collection, and would welcome the opportunity to talk with potential donors. (All donations are tax-deductible.) Dr. Linda Boynton Arthur, Curator of the Historic Costume Collections, may be reached at 956-2234. Among the ethnic groups whose costumes had a profound effect on Hawaiian costume include:
Americans
Prior to the arrival of the American missionaries in 1820, the indigenous Hawaiian population wore garments made of kapa. This bark cloth was made from the inner bark of the paper mulberry tree. The malo, worn by men, was a loin cloth. Women wore the pa'u, a skirt of one to ten thicknesses of kapa. The length of the pa'u varied with the woman's status.
Due to the sandalwood trade which began in 1810, Hawaiians had already begun to amass stores of woven western fabrics. When the missionary wives arrived in 1820, the Hawaiian queens were enchanted with the dresses worn by the women. Queen Kalakua asked the wives to make her a dress like theirs out of a bolt of white cambric. The result was the original holoku.
Hawaiian men adopted western styled clothing without major changes in design features, until the Aloha shirt was invented in the 1930s. However, Hawaiian women immediately eliminated the constricting waistline worn by missionary women in 1820. The result was a loose, comfortable style of dress with some western design features. These include high necklines, long sleeves, yokes, pin tucks, lace, eyelet, ruffles and trains (for holoku).
Chinese
Foreign workers were imported to work in Hawaiian-agriculture after the demise of the whaling and sandalwood trades. Chinese came to Hawaii in the mid-nineteenth century. Major design elements of Chinese costume include diagonal front openings, the mandarin (upright) collar, side slits in dresses, Chinese knot closures, often referred to as frogs, and of course, beautiful silk fabrics.
The cheong sam is a dress that is known for its tight fit. This sheath-like dress has a mandarin collar and a diagonal front closure. This dress may have side slits of eight to ten inches up the side seams. For centuries, this dress was worn in southern China for both formal and daily wear. During the mid 1950s, Susie Wong films were popular, and the cheong sam came into vogue in the western world. In the 1970s, designers such as Diane Von Furstenburg and David Morris adopted Chinese design characteristics.
Japanese
Among the early farm laborers who came to Hawai'i in the 19th century, the Japanese and Chinese were to have a major impact on the Hawaiian fashion industry. The immigrants were able to make their own clothing for awhile, but soon needed an alternative. Ready to wear clothing was available in Hawai'i, but was sized for Westerners. Japanese and Chinese proprietors set up custom tailoring shops. Their fine skills set a standard for high quality workmanship.6
The kimono, a loose robe with wide sleeves, called sode, was the national dress for Japanese women. The silk kimono is used for religious or formal occasions. Frequently, the kimono is decorated with natural designs and floral motifs such as cherry blossoms and chrysanthemums.7 Contemporary designers in Honolulu, such as Ann Namba, use kimono fabrics in their designs, as did several designers in the 1970s.
Bright colors and vivid prints characterized many of the kimono fabrics of the 1920s. During this time, Musa-Shiya the Shirtmaker started using kimono fabrics for mens' casual shirts. These were the forerunners of Aloha Shirts.8 Japanese prints were used in Hawaiian Aloha Shirts through the 1940s.
Koreans
Also among the early immigrant groups to Hawai'i, the Koreans have had an impact on the Hawaiian fashion scene. Vivid colors also characterize costume worn by Korean children and unmarried girls. Bright panels of color are seamed together in the sleeves of short jackets. These V-necked jackets cover a high-waisted dress with a loose skirt. Gold thread is also a favorite design detail.
Contemporary designers have used the brightly colored sleeves as design inspiration. In addition, during the late 1970s, the high-waisted dress was a significant silhouette in western fashion. This design line may be attributed to the impact of both Korean, and French Empire designs.
Filipinos
When the immigrants from the Philippines arrived in Hawai’i, they arrived with beautiful garments made of pina cloth. This is a fiber from the pineapple, and results in a fine, sheer fabric that resembles silk organdy. The pina cloth is still used in the formal shirt, the Barong Tagalog. This cloth was also used in women's dresses and the panuelo, a shoulder scarf. Worn for formal occasions, the dress was referred to as a Maria Clara, had full, butterfly sleeves and a fitted bodice with a long, full skirt. Another dress style, the terno is a tight fitting dress. In Hawaii, the most commonly seen design adaptation from Filipina dress is found in very wide collars, resembling the panuelo and in large sleeves.
COSTUMES EXHIBITED
:ALOHA SHIRT--The design motifs in this aloha shirt are Polynesian, with tiki and other Polynesian symbols. The style of the shirt is typical of American shirts from the mainland, and aloha shirts from Hawaii. What is most interesting in this shirt is the use of a batik design. Batik is a design process in which wax or paste is applied to plain fabric prior to dying. After taking the fabric out of the dye, the wax or paste is removed and white areas are revealed. Batik is well known in Southeast Asia, particularly in Indonesia and Thailand, as we see in the Thai skirt, displayed adjacent to this aloha shirt.
DATE: 1978. DONOR: MR. E.W. GEHRINGERMEO TRIBAL WOMEN’S SKIRT FROM THE HILLS OF NORTHERN THAILAND--It is the custom for each Meo Tribal lady to make and wear a new outfit for the New Year’s celebration. It may take several months to harvest the hemp, spin the thread, and weave the fabric. In addition, the wide middle section must be batiked in blue and white, red sections of commercial cloth and home dyed blue, red and white bands and borders must be carefully appliqued to the ground fabric. After the open skirt has been constructed, tiny pleats are folded and sewn from the band to the hem. These pleats are released when the girl first dons the skirt on New Year's. The same skirt is worn throughout the year during which an entirely new one is painstakingly created.1960s.
JAPANESE WOMAN’S ROYAL BLUE SATIN AND RED LINED SILK KOSODE--An interesting note came with the gifted kosode (short sleeved kimono) in 1854, when Commodore Matthew Perry signed the treaty with Japan opening the Japanese ports to American trade. At that time there was a considerable exchange of gifts. This lovely royal blue, silk, satin weave, padded kimono is said to have been given to an American admiral. The robe is ornamented with gold couching. The yarn is so thick and delicate that it cannot be sewn by the customary process of pulling it through the fabric. Its motifs are symbolic: bamboo means that despite difficulties, one must bend as the bamboo but not break; the gnarled pine tree symbolizes longevity; and the plum blossom is the first flower of spring. Since the weather is cold, this blossom means having the courage to withstand hardships.
1825-1854. DONOR: DR. & MRS. W. GLENN MARDERS, 1981.MU’UMU’U WITH SODE--Japanese design ideas were incorporated into this Hawaiian mu’umu’u. The most prominent feature is the use of Japanese sode (sleeves) in a semi-detached manner. In addition, the handkerchief print (an American design) utilizes Japanese-styled flowers. Nonetheless, the mu’umu’u is Hawaiian as it was created in Hawai’i for the Hawaiian market. The fabric is a single-knit polyester/nylon blend, typical of American fashion from the 1970s.
DONOR: MRS. CLAIRE BOOTHE LUCE
HAWAIIAN HOLOKU--Hawaiian prints were commonly found on holoku from the 1940s. Made of rayon kabe crepe with Japanese motifs in the post-war period, this holoku sports a very long train. Estimated to have been made in 1947 by a custom dressmaker in McCully Square for $40.00, this unique holoku has a very long train, tiers of ruffles at the sleeves and hem, and is fitted closely to the body. This holoku is of a type commonly worn by musicians in Waikiki during this period.
DATE: 1947. DONOR: MRS. ERMA BOYENBRIDAL FURISODE KIMONO--Although this bridal furisode (long swinging sleeve) was made in Japan, it was made for an American airline hostess (of Japanese ancestry) who was flying back and forth between the islands and Japan. Therefore, and probably at her request, it has Hawaiian flowers on it. Easily identified are beautiful orchids, roses, and ferns.
DATE: 1960s.ALOHA SHIRT--The aloha shirt originated in the late 1930s when kimono fabric was used to make a festive shirt for private school students. The aloha shirt was made of Japanese fabrics with Japanese motifs for a short time. This aloha shirt of kabe crepe was made during the 1940s. While it was made in Hawaii, the fabric is typically Japanese, and has motifs similar to those found on kimono of the middle twentieth century. By the late 1940s, aloha shirts were made in rayon, silk and cotton fabrics with Hawaiian designs.
DONOR: MRS. LYNN HATA
CHEONG SAM: Designed, made and worn by a University of Hawaii-Manoa Textile and Clothing student--In sparkling white with gold trim, this cheong sam follows the lines of the Chinese garment that was worn in the late 1800's and is still worn by Chinese ladies in Hong Kong, Taipei, Singapore, and Hawaii. Originally the garment did not have the figure hugging lines that are so popular today. Originally, the garment had no darts and its side seams fell in a slight A-line to the hem.
1964. DONATED BY DESIGNER, CAROL NAONE.MU’UMU’U: Following the design lines of the cheong sam, which included the asymmetrical opening with frog closures and side slits, this garment retained the looseness of the traditional Hawaiian mu’umu’u. Western influence is also apparent in this mu’umu’u, as the garment was done in a red and white acrylic crepe fabric common in Western styles in the late 1960s. Chrysanthemums, a common Asian motif, dominate the mu’umu’u.
DONOR: GLORIA FURER
FILIPINA’S PINK AND WHITE DANCE DRESS--The Spanish left their mark on this tiny waisted, long dress with train. While the silhouette of this garment was introduced during the Spanish occupation of the Philippine islands, its ornamentation most likely is of native inspiration. The Philippine lady of long ago at first began to drape her native, hand woven, wrapped skirt over her Spanish type skirt. This native skirt later became an apron; today the skirt is often elaborately ornamented. Date:
1970s. DONATED BY LOLA STONE.MU’UMU’U WITH CAPE COLLAR- -Strongly reminiscent of the panuelo (shawl) worn over the Maria Clara dresses of the Philippines, this mu’umu’u was designed in Hawaii by our noted designer, Bete. In addition to the design element adapted from the Philippines, English design from the 18th Century was also incorporated in this mu’umu’u. The back of the dress hangs loose in large box pleats. This style is referred to as a Watteau back, and the looseness in back is contrasted with a slender fit in the dress front. The collar is edged in lace. Also a common design feature from the 18th Century, dresses had fichu (shawls over the shoulders and across the chest) that were often lace trimmed.
DATE:1975. DONOR: ORPHA HERRICK
EUROPEAN TEA GOWN--At the turn of the century, many women had active social lives. This involved numerous changes of costume during the day. For visiting friends in the late morning and early afternoon, the Tea Gown was considered ideal. The Tea Gown was generally made of fine white cotton or linen, and had numerous pin tucks, lace and eyelet trims added to the gown. Comfort became important as women began to resist wearing heavily boned dresses.
DATE:1900. DONOR: ADELAIDE BESTEHAWAIIAN HOLOKU--IN 1907, the holoku was described as the "Hawaiian version of the European Tea Gown." Greatly resembling the tea gown, this holoku is made of a fine white cotton. It was copied from a loose holoku worn by Annie Akamu Kai in 1915. When the gown was copied in the 1930s, it was fitted like most western gowns of the 1930s. The yoke, sleeves and hem are decorated with fine pin tucks, like the original.
DONOR: MARY HOCKLEYKOREAN GIRL'S SIXTH BIRTHDAY DRESS--This colorful birthday dress made a little Korean girl feel special for her sixth birthday with its gaily striped sleeves, its long streamered half bow, and its red and gold stenciled skirt. It is a typical Korean girl's celebration dress. Of unusual interest is the half bow which holds the jogori (upper body garment) closed. While Korean Imperial Court garments followed those of China, the jogori appears to be of Korean origin, and the half-bow is only seen in one other Asian country, Okinawa. The full skirt allows ladies to sit comfortably on the warm floor. Korean ladies sit with one knee up.
MU’UMU’U, MINIDRESS--Following the Korean high-waisted style seen in the jogori, this mu’umu’u also includes gold thread in the fabric design--also a Korean design inspiration. This mu’umu’u is an excellent example of how Hawaiian designers adapted numerous fashion ideas from varied sources. While some of the design inspiration was Korean, the overall design concept is also reminiscent of the Empire lines of the early 1800s which reemerged in western dress styles of the 1970s.
DATE: 1970. DONOR: MRS. HELENE HORIMOTO