Issue link: https://digital.copcomm.com/i/1538245
It was dense but malleable, very so and collapsible. We needed to find a material that could match those qualities. Our Fabric Buyer, Beryl Brachman, searched for non-woven materials such as pellon, ultra-suede, and light traditional fabrics like gauze, and we made samples with all of them, but none fit the bill. Beryl found a small amount of yardage of a mystery fabric we could not identify with any of our suppliers, but that appeared to be the perfect material for our kapa. Aer a week- long investigation, Marina was able to identify that material as Evolon, a non-woven material used for a number of industrial applications, including archival work. Essentially it was Tyvek without the plastic coating. Evolon has many advantages: First, it was washable, a key factor for costumes. Being non-woven meant that we could have cut raw edges that would look like the organic edges of the real kapa cloth. The synthetic fibers in the fabric allowed us to burn the edges, creating a paper-like finish. It also came in different weights which allowed us to mimic the various drapes and qualities of ancient kapa. With our kapa material solved, we faced the next challenge: transforming it into garments. The Evolon needed to be dyed to match the colors traditionally achieved by the Native Hawaiians. Our Dyer, Tÿra Youland, conducted numerous experiments to find the right color combinations and techniques. Since Evolon is a synthetic fabric, we needed specific dyes, and the material absorbed dye in unpredictable ways. This led to dyeing smaller batches of fabric in Los Angeles. Once production moved to New Zealand, we had access to larger dye pots, allowing us to work in more considerable quantities. Upon examining the historical examples of stiffer kapa we encountered in the museum collections of New Zealand, we decided to treat the fabric with shellac. This not only increased the stiffness but allowed for more sculptural shapes, mimicking the kapa we had felt in the Te Papa. This proved crucial in distinguishing the simple garments of common villagers from the more opulent aire worn by the Ali'i, the hereditary nobles. Next came developing the silhouees. Caroline had sketches and sample artwork for research. Some of the artwork was made by outsiders representing Native Hawaiian people, so it had to be taken with a grain of salt. Our cultural advisors weighed in with their knowledge and expertise. Entire kingdoms had to be made, from fishermen and common villagers, to warriors, queens, and kings. The biggest note we had was that fabric and feathers equal status. The villagers had more simple silhouees, closer to the body, while the Ali'i had grand long cloaks and capes and more intricate garments made with many yards of 26 FALL 2025 Clockwise: Moses Goods in Chief of War; Tÿra Youland with tons of feathers; racks of feathered ʼahu ʼula; Te Ao o Hinepehinga in pa'u skirt and kappa top.