Practices of cultural collectivity: Style activism, Miromoda and Māori fashion in Aotearoa New Zealand

Familiar narratives of fashion history in Aotearoa New Zealand recount the successes of Pākehā (New Zealand European) designers who have forged a distinctive fashion industry at the edge of the world. This narrative overlooks the history of Māori fashion cultures, including the role of ‘style activism’ enacted by political figures such as Whetu Tirikatene-Sullivan and collectives such as the Pacific Sisters who advanced the status of Māori and Pasifika design in the twentieth century. It also ignores the changing nature of the New Zealand fashion industry today. One of the most significant recent initiatives to alter perceptions of fashion in Aotearoa New Zealand has been Miromoda, the Indigenous Māori Fashion Apparel Board (IMFAB), established in 2008. By championing the work of Māori fashion designers and prioritizing the values of te ao Māori (the Māori world-view), Miromoda is successfully contributing to the ‘decolonization’ of the New Zealand fashion industry. This article foregrounds practices of cultural collectivity, including that of style activists such as Tirikatene-Sullivan and the Pacific Sisters, and Māori fashion designers such as Kiri Nathan, Tessa Lont (Lontessa) and Bobby Campbell Luke (Campbell Luke), to explore the expansion of a more affirmative fashion future in Aotearoa New Zealand.

Fashioning culture: Transforming perspectives from Oceania

In this introductory article we discuss what might be gained from examining more familiar areas of anthropological research such as cloth, dress or material culture through fashion as an analytical category and, in turn, how insights from Pacific clothing cultures can broaden understandings of fashion. Our aim is to unsettle the ethnographic gaze that is often brought to bear on non-western cultures of fashion, cloth, clothing, style and innovation. Fashion, as we conceive of it, spans from the physical production and design of garments and objects to everyday appearances, the desire to be ‘in vogue’ and the consumption of aesthetic objects that are considered popular. From this starting point we move analyses of fashion from the systemic to the experiential, reflecting ethnographic sensitivity to everyday embodied practice and the constant political and creative negotiation of values and norms that takes place in quotidian social relations. We situate these analyses in a region that is often perceived to be at the very edge of the world economy and invite further discussion about the relationship between fashion and the global flow of people, ideas and commodities.

Transformation in homespun: Power and creativity in early nineteenth-century Hawaiian cloth manufacturing

Between 1837 and 1840, governor and chief John Adams Kuakini engaged in cotton farming and cloth production, the first Hawaiian to ever do so. His success in running a cloth-making operation was not done alone, however, but with the guidance from New England Congregationalist missionaries who introduced homespun to Kuakini and hired foreigners and makaʻāinana men and women labourers. This article explores Kuakini’s motivations for investing in cloth-making through the lens of his chiefly power, with special attention to the ways in which Kuakini asserted dominance over those who challenged him and those he believed were subservient to him. I examine Kuakini’s motivations and foray into cloth-making, which differed greatly from Congregational Christian ideas about cloth-making, further demonstrating how Kuakini’s power in the early Hawaiian Kingdom extended over both native and foreign bodies.

‘Not a trend. It’s a tradition’: Remaking Pacific identity and culture at London Pacific Fashion Week 2019

In recent years, the recognition of creative industries such as art, design, media and fashion has thrust these sectors into the spotlight as valuable tools for economic development and integration into global markets. By establishing themselves as creative hotspots, developing countries grow small- and medium-sized enterprises (SMEs) and promote creative entrepreneurs who are involved in transforming culture. While an emphasis on incorporating ‘culture’ into design might also be seen as stultifying or essentializing culture, stakeholders working in the region consistently emphasize the significance of incorporating local cultures into their creations. In this article, we draw on interviews with Pacific designers and fashion festival organizers to demonstrate the range of ways in which ‘culture’ is woven into the story of Pacific fashion. In doing so, we highlight the ways in which participants are ‘remaking’ cultural identity and expression by ‘spinning it into something new’, keeping cultural connections alive and personal for those involved in these industries, while also allowing makers to situate their brand or product in the global market. Furthermore, we suggest that involvement in the world of fashion on a global scale represents an opportunity for participants to explore more inclusive and diverse versions of Pacific identity than those sanctioned or imagined outside the world of fashion.

What women want: Fashion, morality and gendered subjectivities in the Highlands of Papua New Guinea

This article brings Papua New Guinean women’s perspectives on fashion, gender and morality into conversation with questions of colonial histories and global consumerism. The article shows that adherence to social norms is policed by women in the public sphere and that one person’s choices are enmeshed in ideas of responsibility and obligation to others. Increasingly, younger generations of women believe it is an individual woman’s right to wear what she wants in Papua New Guinea (PNG). Yet young women confront their peers in much the same way older women do. What women wear in PNG is embroiled in ideas of collective morality; plays out at intersections of class, age, race and gender; and demonstrates tensions between ideas of autonomy and collectivity. On whose terms do contemporary Papua New Guinean women get to decide how to dress: their own, or in accordance with community norms and standards? What are the contemporary and historical contexts of whiteness and colonial power that have influenced these norms and standards? This article brings together the experiences and perspective of a young professional Papua New Guinean woman, and her relatives, in dialogue with a young English–Iranian woman anthropologist.

Back to the future: Rewriting fashion history from the Cook Islands

This article engages in debates about the European and capitalist origins of the fashion system and aims to decentre this history from a Pacific perspective. Taking fashion to be a process of novel and transformative display, the article reconstructs a Pacific fashion system that innovatively presents local aesthetics, status and affiliation and re-presents social, economic and political identities and agendas. It examines present-day and historical accounts of clothing and dress in the Cook Islands, starting from a shirt described in 1896; it then tracks forward to contemporary logo T-shirts and back again to suggest an alternate fashion trajectory of bodily self-representation, collective display and distinction. Fashion emerges as an anticipatory social force that produces a multiplicity of meanings that move unpredictably across time, place and systems of representation.

T-Shirts, style and the social construction of modern masculinities in urban Fiji

In this article I consider fashion as a key modality through which young Fiji citizens experience modernity and construct contemporary self-identities in dialogue with global popular culture. A multi-dimensional tool, fashion is effectively used as self-performance; a way of carrying the body in public spaces, including dress and style as well as mannerisms, demeanour, body shape and comportment. It follows that fashion also intersects with other social categories such as gender, sexual identity and race in order to inform local social scripts in which people judge their own and others’ appearance and define the nature of a desirable, modern body.

Scenarios of style: An exploration of subcultural research as embodied practice in Los Angeles’s vintage Jamaican music scene

This article sets forth a performance studies framework for subcultural research: scenarios of style. This embodied epistemology brings together Diana Taylor’s scenario paradigm with interdisciplinary perspectives on style to provide a means for researchers to explore the ways in which style is constitutive of subcultural life. Twenty-five years of involvement in Los Angeles’s vintage Jamaican music scene and four years of fieldwork – comprised of participant observation, oral history interviews and archival research – undergird my theorization. To communicate individual agency and subcultural traditions of style, this article explores a single case study situated within my larger research setting. Because scenarios of style supports embodied, situated understandings of knowledge and is contextually adaptable, this article posits its broader relevancy for fashion studies research.

Critical reflections on cultural appropriation, race and the role of fancy dress costume

Cultural appropriation in fashionable dress has become an increasingly urgent subject within scholarly and generalist discussions. Few weeks now pass without a news story criticizing a fashion brand for producing and promoting culturally insensitive clothing. A form of clothing most frequently and controversially associated with cultural trespass, but generally marginalized within academic enquiries, is fancy dress costume. This article seeks, first, to promote a critical and continuous academic engagement with fancy dress costume and contribute to a growing body of scholarship that recognizes its cultural and social importance. Second, I complicate discussions about the causes of cultural appropriation within fancy dress costume by reflecting on the circumstances and motives in which people perform, dressed very differently to their conventional appearance. Addressing these points, the article makes a unique contribution to clothing studies and discussions about cultural appropriation by advocating a more nuanced understanding of people’s self-awareness when they participate in fancy dress costume, and suggests how this might be achieved.