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The following program is a production of HDTV in one of the public television. The following program was funded in part by the Hawaii State foundation on culture and the arts. And the
museum much work to be done. With the. Collection. I've been collecting them for about 50 years and I do it because I'm fascinated with the history of Hawaii the way the islands were presented to the rest of the world like promotional brochures like these for example. This one with the Royal Hawaiian Hotel on the cover was used to give to
guests at the hotel when they visited in the 1930s. Nowadays commercial materials rely almost exclusively on photography but in the old days back in the 1930s for example when this postcard was printed they were much more interested in art work rather than photography. The islands are known for the beautiful natural scenery and I think that this piece of sheet music from 1913 which was published by the Schumann clay company Cisco. Serves as an appropriate introduction to use of our beautiful natural scenery here of course hauled away. You know even today we're very fond of our famous island flower and this is a view from 1942 on the back of a promotional booklet titled What USA depicts a trio of three famous blossoms.
Here in the study is where I keep most of my memorabilia. You know there have been many depictions of the Hawaiian people over the years and they've ranged from very unrealistic to very truthful and honest. This for example is by famous artist John Kelly who was known during the 1940s for his depictions of white women. And this couple was standing on the beach at Waikiki. They are on the back cover of a 1929 Hearst publication entitled The story of Hawaii and here's something which I think will probably be familiar to many of you. It's a famous maxim Weiner menu painted by artist Eugene savage in the late 1930s which was used about 10 years later. And this very bountiful scene shows a luau in progress with wonderful fish and oil and all kinds of fruit. And over there on the right is the pig with the elite presiding over everything. Hawaiian men were depicted as strong and athletic like me here. Probably the most famous Hawaiian man was a champion swimmer who come on a mogul and
he's honored here by a song written in his honor in the 1980s. And this is the cover of the sheet music for that song the lovely ladies of Hawaii often served as the subject of commercial artists. And here we see two young women on the cover of a 942 promotional booklet entitled What USA and notice the way they're offering their ladies to you to welcome you to the paradise of the Pacific. These What we really are to us even today. But they were first painted by airbrush artist Frank McIntosh. And that's a Navigation Company almost 50 years ago. They certainly look very glamorous as they're enjoying this body's harvest of Hawaiian fruit. And that was what the point was you know everybody has seen and probably even in war you know like this one will silky fabric such as this was first invented back in the 1930s. Notice the print on this. Fabric here from about 1950 all kinds of Hawaiian motifs the net.
Throw in the lake we ride around the man with all of these things very helpfully labeled that you know what you're looking at. You know we call this silky fabric and that's been a popular term since the 1970s but actually it's made of rayon on which is the first synthetic fabric ever invented. If you were tourists traveling to what you before 950 chances are you would have come to Hawaii on one of the famous Mets and Warner ships. And this would have been your ticket envelope. This is designed by Frank McIntosh whose work we just saw earlier that famous Many of the three ladies your ticket to paradise would have been contained right in here under this flap. And certainly the Mets and ships these great white ships were imposing sights as they made their way majestically into one harbor to be greeted by happy populace. This watercolor view is from about 1940 when you
disembarked. You were been greeted at the dock by a sea like this. A beautiful Hawaiian lei girl what greeted you with the lei and smile. This is a piece of sheet music from the mid 1930s. You know this is one of my favorite items. This is a tin loves biscuit and bakery company. From the 1920s. And it was used to send the famous loves bread and fruit cake to the mainland. Right there on the cover you'll see the famous view of Diamond Head that everyone knows all over the world. As long as Hawaii's main industry remains tourism will have promotional literature being printed. This piece nearby white is from 934. And this magazine ad. Is From the December 931 issue of Fortune magazine. And right here inside the back cover is a full color advertisement
from the Hawaii tourist bureau. They wanted you to think that the islands were close enough for a quick romantic vacation only a week away. And I bet it's safe to say. This lady remember who won in the finals forever. I hope this quick excursion through the islands has brought back some fond memories for you. Thanks for joining me on this tour what is most. Coming up on spectrum is a look at the Royal Isles the Hawaiian woman at the chosen theme of his Peggy Hoppa from small pockets to full length reclining figures. The atmosphere of the islands is always evident in a Peggy hop Assyria graph. A.
Well I'm an artist because I guess I feel it's the thing I do best and I get a lot of positive feedback from people and it's been wonderful because I've been able to be a mother and work at home have a family. And for a woman it's a field in which there is no discrimination. You're just is you're accepted for what you are and the quality of your work. And it's wonderful it's and it's terrible because it's a very frustrating profession. You're always striving to reach the unattainable. You start out hoping that a painting will be wonderful and it either doesn't met met it usually doesn't come up to your to your expectations but you just always hope that maybe the next one will. And it's it's it's a neat way to live.
When I first came to live in Hawaii I went down to the archives which are adjacent to the palace and looked through some of the photo collections there that one of them in particular was a photo collection of King color cars. And I was so impressed with the quality of the life that the Hawaiians must've enjoyed back around the turn of the century and they would lie on the beaches in their low hollow man on their low holler math with these wonderful moons on. Although they were they looked like they were enjoying the good life. There was something so sad and poignant about their faces. Their eyes looked so. Like they were longing for something that that had been lost or perhaps like they were waiting their turn or maybe they felt like they were slightly. There was some sort of a time war going on they didn't really belong in these clothes and
I like that juxtaposition to the kind of strong almost androgenous bodies with the will really moves in the fancy Laysan. I just like that contrast that strength with the very delicate gentleness inspired me to start painting them. I don't know I feel I don't paint reality I paint something that I would like I guess to be real. The feeling that people can be. Themselves and can be relaxed and yet strong it can be a beautiful without being seductive. I think that the little seductive hula girl kind of image is just really awful. I think of
the Hawaiian people too dignified and deserve much better than that and you could say that something else I'm trying to do is to create these people in the strongest and best possible light. I get my ideas from every place every everything I see. I can be standing. I can be down at the beach I can be standing in line at Sears and I'll see some wonderful lady and all thing go oh my god what a face. It just makes me want to go home and work and I guess I really am sort of creating. I don't know it to me. It's maybe it's me. I don't know maybe it's me I'm putting up there the other person that I'd like to be your kind of very controlled and not
not caught up in the ways of the world and. And yet I am so caught up in the ways of the world maybe I paint these things to come me down. Lots of people tell me that it has that effect on him a calming effect. My new style is called groping groping for a new style. I am in the process right now of. I realize that I don't want to give up what I have. I just need to enlarge upon it too perhaps. It's one of my friends says get a little more so in my work. I feel my work has been criticized for being too decorative and. Superficial. I know what people mean when they say that. However I feel that I am serious artists and I do want
to be taken seriously not only by others by myself so I know that one way to do that is to expose yourself to new ideas new places new people and that's my new style is to open up and allow some new ideas to come into my life. A few years ago when my husband and I first started doing Serah graphs we decided that first of all my work lends itself to cerebral fi and my husband is my husband Bruce is a very good technically and felt that he could reproduce some of my paintings very faithfully in the methods with a rigorous fee. And we did one down town in a funny old action was down in Santa a funny old place and I'll never forget the
night we did it because there were termites buzzing all around falling into the can. But it turned out quite well and we managed to sell them and we felt that this was a way to. To not only make a living but also to give me some time to be able to take more pains with my work because we have become a somewhat dependent on my reproductions now to help put our children through college. All three of them and as everyone knows living in Hawaii is very expensive and there are a lot of people who can't afford paying. And since I paint very large and not very many a year I do. My paintings aren't cheap and so people seem to really like the service and we love doing them and it seems to fill in
many things. Well Tenchi. Lives in Cairo and works under the names then you know arts like your caller really has a very nice studio a very good press and we've done five Sarah graphs with him and. He is an excellent printer. And we've just had a very good working order. I mean it was what we got in the gym work was. Very nice to work with. Yeah sees that the painting is photographed properly handles all the making of the positives supervises the making of the screens works very closely with can to make sure that the final product is done well and it allows me time to paint to refeed is a technique of printing that involves making a stencil which you apply to stretched fabric in a frame where the stencil is open. The bank will pass through it where it's close to well it's as simple as that.
And we have employed here a process. Over a photo stencil. There are a number of different types of stencils in the woods but we use them for the distance. And then we think is applied to the silk and press through with the squeegee and the impression is made on the paper. And that's where you get your print. I feel that my contribution to whole. To Hawaii has been. And I don't mean this in a derogatory sense but I feel that I am keeping alive a certain myth. About the islands that the islands are filled with only beautiful women and. Lots of time men soft breezes then no crime and. Lovely vistas and colors. And perhaps
I'm keeping it alive as much for myself as for the tourists and. Everyone who lives here. We would all like to think that there is a place where there is still beauty and tranquility and harmony and the aloha spirit. And maybe that's the function I fulfill. The treasures of history are revealed to those who know how to look for them. Dr Roger rose officer has a look behind the scenes as the Bishop Museum prepares far how the royal aisles of county Hayden County have got to go through. I know you would want to make sure you know what to do to deal with. And then you have to know what you're going to do with this exhibit going to be sure how long
for what audience are you aiming at out there when you know these general ideas then you begin to conceive something that fills these requirements. Well I could take anywhere from just a few hours for a very simple exhibit up to. Months weeks even years planning for something that's as large and as major as why the royal Isles were going to work at that now for about four years planning and getting ready for it to be installed here at the Bishop Museum the royal Isles uses more than three hundred five artifacts and works of art primarily from the middle. To document the richness of the traditions of the white people. For the past two years we have shared his wealth with seven major museums on the mainland. And our treasures have come home and are being installed. Music. Installation process gym visitor rarely gets to see. Involves curators and carpenters librarians and thinkers and apologise to us. Lots of pain. Power tools Roger always a lot of work still gets put off until
the last minute. Let's see the. Excitement in the opening night and people just leave things off. To a. Very. Interesting that's part of the adrenaline part of the excitement that keeps us all going. Owns dollars an exhibit. People are very special they have to have a time want to see what the essence of an object is to see what kind of background paint or color for example here compliments. So the natural wood frame of a wooden calabash or something whereas in the other part of the exhibition other kinds of artifacts you need different kinds of backgrounds to support them and bring out the best of the parts inherent within the artifact itself. And of course people have you're very very careful because we're dealing in some cases with priceless artifacts so we need people with care and appreciation and then some knowledge of what it is that they're dealing with. Good for the culture of these artifacts come from so you have to be able to plan
your display so that it enhances the object and brings in the culture from which it's a park makes our culture come alive. But we have to be very careful about any kind of damage to the artifacts. Whatsoever. So you see we're always using. Our cotton gloves so that we don't have any. We don't get fingerprints on the objects and also it's not always without but it. Prevents. The moisture in the perspiration that accumulates from your hands from getting on to the artifact because there's no culture and it provides nutrients for mold and for. Things to grow. Causing disfigurement and down which we also have underneath. Each of these phases of my life. This is an inert substance. To protect the bottom of the artifact. From the fresh paint or any of the paint that's been used medical pieces are also a part of this grouping so they could somehow be brought as curator
for this exhibition I worked closely with Dave Campbell at the exhibit designer and the staff as Exhibit department is responsible for the physical design and graphics of this exhibition from the first moment of planning to the fine tuning of artifact placement in the case of them. And this thing Also if you notice picks up the light very well. So you want to have it up so that it's not hidden by this shot of me and I just don't do it. It was all but that's the beauty of it and you know it's lost when it's done here. Yeah we want to keep it in medicine. Maybe that will happen. That's right and there's no particular detail to say on this one. The grain and the colors what's important was there is some detail on this. He's not giving up part of their go on the floor to do that I think soft I
mean and you could see and review scripture most when we talk about obscure my role is really that of the middle man. Given. A person like Roger and the public's point of view and I try to match them up. And brought to life interesting. And problem solving you have. Usually a space that has to be worked with. Objects that are often fragile. You have. A whole host of little problems that have to be together in order to make the thing both practical and exciting and interesting. And that's the challenge. One factor about the museum that is foremost in the exhibition planning is the building itself.
It's a 90 year old masterpiece of architectural design. The main thing is to make take advantage of the building and having it be a detriment to have it be an asset because it's a wonderful building it's a beautiful space but it's also an intractable space it's very rigid and formal. So the problem becomes. How to make a show that's a given size as this one has to fit into a space that's a given shape. I think it's the final magic. Of having. In this case over 300 artifacts which may or may know when you just see them in isolation and they don't relate to one another. But when they're finally brought together for her. Objects told the story all that in this case I think the only one local story I thought it was the one I call people avoid things in ways
another individual's away and exciting. These are just some of the artifacts that are part of that on air. Polly I. Symbols be they corrected popular are traditionally revered. Give us mysterious clues to the paths we once walked. If they could speak. They might rob us of our chance to gaze at them and ponder that meaning. Let's pause for awhile as we toured an exhibition of the stained glass Association of Hawaii at the one on the international airport. Here is one where the radiance of light. Is a. Rarity. Join us again on our next spectrum.
Spectrum was funded in part by the Hawaii State foundation on culture and the arts. The following program is a production of key HPT in one of the public television.
The following program was funded in part by the Hawaii State foundation on culture and the arts. Today on spec. We turn to the founder of the fashion. For design ideas find Defcon and fabric. By local fashion design as wide as to produce distinctive eye why an apparel. Thing is something we all share. It is an universal language that a say so many different things about ourselves. It can be conservative. Dedication it can be
bold maybe even outrageous. A look into the future. Of fashion in Hawaii has grown up in the past year and it is now among the top 5 largest industries in the state. More than a hundred that did. Companies producing drama styles. In Hawaii our fashion you can say much about our environment. The colors the lifestyles the islands and the uniqueness. How do some of the local designers make their statements in person and place before any statements can be made. One must first learn the elements the fundamentals in fashion design those basics are taught in classes such as the senior design class at the University of Hawaii by Gloria Farah. Fashion designers are generally portrayed in movies or when you see them on television
shows as well dressed generally in their style in their showrooms perhaps with beautiful fabric and some laid out on the floor or whatever. The working designer is totally different. They generally work in the most comfortable clothes they can because it's hard work. It's very active work sometimes and the students. See the difference when they go out for field experience. And we try to impress them all the time on the fact that it isn't a glamour job. There's a lot of glamour at the end perhaps when they do the fashion show and they are accepted. It's their day in the spotlight but the rest of the time they're behind the scenes working. When I returned here to the faculty in one thousand fifty eight I was asked to do a survey of the business is fashion and merchandising. And the response was that they really needed
new people coming out of the fashion industry had been going for about 10 years it just mushroom and they saw the need for a pool of creative talent to draw on for the future. Most of the manufacturers were husband and wife teams which just developed the. Woman could make interesting clothes for children. The husband saw the necessity for going out and so on. And it just sort of mushroom that way. There was a period in time in which you could do no wrong and in manufacturing the product was wanted by everybody. And it just grew like topsy. Very few had formal training of any type there were a few but they were minimal. As a result the emphasis of the university's home economics clothing causes was really directed from the personal sewing to creating garments of the
public. The curriculum that we have today we strive to develop the creative talents of the students and to inspire them towards innovative thinking. At the same time give them a background in management and leadership skills so they can make decisions in this fast changing. Fast paced international world that theyre going into. We're very fortunate to have a large collection of historic garments both Asian and Western and we use these garments to develop this creative talent in the students so we bring the garments in they can examine them see how details are done. And. It's a constant learning process. They are encouraged to go out into the community we take field trips to the home of county of Arts the Bishop Museum mission houses museum. We've
even had a speaker from astronomy give us a slide show on the rings of Saturn just to show the students that any place is a place where you can get ideas from. They research the libraries historical magazines and. Use this as background. They also are taught to pick up the trends which are happening in the current marketplace. They read Women's Wear Daily driver see other source material for designers. And then they go into research to get their own ideas. Rather than. Copying the name designer who is already an American. By the end of the four years of graduate of the university's fashion design program will be equipped to start his or her own business. Not all students in the program aim for a professional career but for those who do. They.
Have their expectation. And want it to work. Just trying. To see. I mean. I've worked in the factory a factory here in the islands and it's really interesting how the. Factories here are and I'd like to get more experience. It's really hard here it's competitive. The islands are small. And. MARK Yeah well there's not a high very high turnover here so I'd like to see this broaden my skills on the ME. Perhaps I'd like to go to New York. Let's wait. It's a long step from the classroom to the commercial fashion world. Yet Malia designers create for a customer they know well.
They. Like. More than 20 years ago. Bill and Mary Foster began a small dress company inaudible. Today that company Malia International is how easy leading manufacturer and win entry software. Shipping nearly 90 percent of its line to the mainland. Molly is President Bill Foster explains the company's growth. He started off with a company that was really quite small and devoted really to local marketing. And we made the decision to. Go to the mainland primarily because. The tourist market in 1960 wasn't anywhere near what it is today. And that seemed to be the place to go. But that's a highly sophisticated market and it took us a long time to learn. How to deal with it. But. Bringing to that market. Resort clothing which was influenced deeply by the people the cultural heritage of the islands the
environment because the sea in the sky and the prints and the. Leisure living of the islands was something that we. Were able to capture. And I think it was largely responsible for the fact that we continued to. Grow. Mary Foster also known as money is the director of Design and knows her customer profile well. I design for them only a woman. Them only a woman has been very carefully defined over the years. She. Is probably somewhere between 18 and 60. Even my mother who's 83 years old. Where's Molly. And. She's an active woman. She's a responsible woman. She loves color. She does not want to go unnoticed. She has a good time she's happy she knows that these clothes reflect. Her spirit.
She likes dogs and books and a career. She might even like antiques like I do. Yes I think I am the Malea woman. Will you. Hi. I'm fine how are you. A good day. That's terrific. The difference between designing for a mass throughout it or the volume of house. And custom individual designing. There are two major differences one is that our market is so much greater. We have to be aware of it more on a if you get the thing constant basis. We have to be aware of its position. We have to be aware of the things that influence it like economics. Whether. We have to be aware of how it changes. And it can change very readily very rapidly. We have to. Respond
quickly as quickly as we can when we do our own fabrics of course it takes a little time. But we have to respond to it. Also when you have mass marketing and mass production. You. Have along with that more concerns. And with more concerns. You have to have a team. It's not humanly possible for one person to take care of the things as they mount up. So that's why we've developed the design team here. I like. The Simple Life. OK. I will. Then relate this way to. Make this. Very simple. Take. This in-house team of designers and artists recreate the two essential characteristics of the money align the fabric design and the style of its cut. I don't have it in my soul I want a place like. This.
Mary Foster meets often with her team supervises director of Whitney white and style designer Reiko Hari. Here they critique a dress design sample before it goes into production. I think it. Looks a lot. Better. And. I. Think. It's right. There. So much going on that. It's going to help a lot. But. What a way. No more yardage. That we have. I'm sure. Well it will take more. Troops. But the exclusivity of the lias fabric design is a very important factor in our
uniqueness. We have our own art studio here and we can do anything we want to on fabric. We have wonderful resource for printing. And many mainland manufacturers. Don't have those advantages. We design our fabrics and primarily three different ways. Probably the majority of them. Come right out of. The artist's own creative minds through magazines libraries bookstores card shops taking a hike whatever you know whatever they want to do and they develop ideas. And present them and we take them from there. I bring them. You know. I like that. One sale effect what you have there in here. I agree. Second way would be through direction if we want to certain story if we want a certain look. Let's say we feel like taking off on wood blocks or primitives or animals. Then
we with ethically designed prints. More as a as a one on one team effort. And the third way would be specific direction. We need graphic we need a monotone. We need you know a specific floor for a. While it may begin with a sketched out idea. It is here in the past and we're style designer Reiko takes the abstract and makes it into a garment called a sample. This sample allows the designer a chance to determine if the style and the fabric compliment each other. And to make changes before it goes into production. Samples are made out of fabric. Before sewing them together.
I spend many days every year. Traveling to stores and talking to hundreds of ladies who love Malea or who. Maybe don't love Malea. And. Very often they tell me. They need pockets. They need sleeves. They want to cover up their involve with air conditioning. They can't wear a sundress on every occasion. Why don't you make sleeve dresses. Why don't you make sports wear. All kinds of suggestions as. Compliments. And criticisms. And it's putting those in and using that feedback. That. Makes us respond. Once the sample has been approved its design goes into production. The fabric is laid out on tables and then covered by Mark with a sheet of half I'm facing. Cut a slice through many layers of fabric at once. Producing numerous pieces of the same pattern in different materials.
Then the pieces a bundle been sent to the other side of the factory to be sewn. Each seamstress has her own specialty. Collars sleeves scenes the garment begins to take shape as it moves from one machine to the next. For Mary Foster production even if it is mass production is a personal business here she speaks about the people who make their clothes. I think. I look at every day the way they handle. The fittings. The painting. The Pella on a tiny little piece fit onto a tiny little collar. By hand. It's not done by robot or lasers or any of those things. I like it this way. And I'm pretty sure I never wanted to change. As distinct from the large manufacturers the Hawaiian world of fashion
design also includes designers who create clothing in limited quantities. These designers work out of their homes are small shops they are known as one of a kind designers and limited production designers. Twelve years ago Jeffrey and Jack Burkman began designing one of a kind dresses under the label a fabrication. A year later they added another line and title Jeffrey to offer lower priced dresses and separates in limited quantities to other stores. The local market. Of which I feel that I'm very strongly involved. Up until very recently has only offered to the consumer two basic concepts. One being the what we call today the traditional block which is basically I garment that is designed for that
more make only conservative type of cost. He offered. The young junior California look. 90 percent of our women actually fall in between these two. And that. I feel that's the type of niche that I'm trying to fill. For the local market in the way that I designed both on my code tour level as well as on the Jeffrey bar wholesale level. I give my customer a well designed garment. Which I feel because I have a background of being a designer and knowing good design. I offered her a garment that is going to look good on her. I know. That my customer is not disputable. That everybody sees on Thursday as a model or that everybody wishes they looked like a more realistic about and I know that my customer base to be a woman over 30. Who. Physically is active but
her body is changing because as you get over this happens she tends to be a little more conservative in the way she looks at her body and so I offer that type of thing in my clothing. My objective is to make people look as beautiful as they went along. With them physiologically and that they then put in the psychological help them carry. The way they look. Because in reality unless you psychologically feel good about yourself you never look at it. On the second floor above his fabrications retail store Jeffrey then works with an assistant creating samples to gently draw a line. Why am I a fashion designer. I'm a frustrated art. I think most. People who are really into the fashion they're going to you know be a true fashion and probably people who have been into art
and have found that it's very difficult to make a living off. So why not the figure a way of doing what you like to do or some branch of it and still make money. I really love what I do. Glamour. That's another thing. Yes it's magnificent this you think of her and everybody laughing you know. But I think the real. Crux of it is. Whether what you're doing is what people want and whether they don't really want to buy it. You can do design the most glamorous beautiful thing in the world. But if they don't sell. You know. Another story it's like I won on the artist and the way he. Why boys look at all of us in the way they operate. You've got to be more realistic about what you do. And realize that if you want to produce something. That has glamour. Statement feel the sign to it. Be my guest to
do it. And I believe I do that. But you must preface it with the fact of. Knowing. That it has to be something that people do. And that unless you really look about realistic way in itself the glamour. If it exists who thought very quickly because if nobody wants a. Gay Pope specializes in hand garments and uses her home as a place. Because of a unique dying process she cannot duplicate damage exactly and therefore is known as a one of a kind designer. The design of one of them. Is basically a fun effort because it takes your imagination whatever creativity you can muster up. And you're doing what you want to do you put your best effort into rather than 200 pieces.
To me that. I couldn't. Do that. It would kill any take. Whatever colors I wanted to take some energy into 200 pieces. By the time I got through the energy interests I could put all of that energy into one that I'd like that hope to market it. The fabric that I use all still gets milled in Shanghai and I can board it from Shanghai. When it arrives here. Here it's white. And I mix dyes when I decide what colors I'm going to
use Usually when I walk out in my workshop and start in the morning I have some idea of what kind of colors I use for the day. When I'm doing that yes hand painting a tunic top when I hand paint I always cut the piece for others so that it can be individually painted and I know exactly where I'm going to put it. So I treat this as though it were a piece of canvas laid out flat. That way I can see where I'm going to put my designs start painting. This works a lot better having a laugh this way and I can control the lines better than guys don't. Yeah like many one of the prime design as gay does much about on sewing. She also contracts with professional seamstresses such as Yoko when numerous
orders come in. I don't like a large volume house which operates continuously Gay's production is limited by how much you can accomplish. This in turn has affected your approach to design. When I first began. Designing. I had to. Sell first. Pieces stayed very simple because my sewing although it was so poor. And then the line kind of grew from there and I got it. Too. Pounce. On the soles and long dresses that work together and they've been using lots of structured lines and my clothes are no birds no darts. The silk is so hang so well and so well by itself that I feel it doesn't need to be structured by any extra little sewing techniques that you would put into heavier bag.
And her assistant Mary the dive that outside and go to work. One of a find garment. I do not design for any specific woman. I think more it would be a concept of a woman who is an interesting imaginative energetic person who enjoys wearing something different. Who feels good about herself and clothes and really wants to wear something fun. I think it's more that concept of person than it is an individual type or age group of women that I design for. It's living in and working with here as has influenced me greatly. You hold all of the colors that I use are around me all the time line every day. That's what I see boys a very vibrant place
and as a result I think the colors that I work with are probably pretty vibrant. Oh what a wonderful complement to me to have someone else buy something that I've made that it's wonderful. That's probably why I'm still doing what I'm doing aside from the fact that I enjoy it. If no one were buying things and wearing them I'd The probably stop to something else. That's great that's that's the whole thing of making it one of the common design that that to me is the that's the reward in itself that's seen someone else aware and enjoying themselves in that.
Busy. And join back.
Spectrum Hawaii
Episode Number
019 And 020
Pegge Hopper, Desotto Brown, and Royal Isles
Fashion in Hawaii
Producing Organization
PBS Hawaii
Contributing Organization
PBS Hawaii (Honolulu, Hawaii)
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Two episodes are included in this asset. Episode 019, "Pegge Hopper, Royal Isles, and Desoto Brown," features the following segments: a tour of artist Pegge Hopper's studio; Hopper discusses how her art relates to Hawaii. The next segment covers an exhibit about Hawaiian culture entitled, "Hawaii: The Royal Isles" at the Bernice P. Bishop museum and its installation. The final segment profiles author Desoto Brown, memorabilia collector and author of "Hawaii Calls". The second episode explores local fashion designers in Hawaii. The first segment shows the fashion design program at the University of Honolulu and interviews two students and an instructor about the program. The next segment is about the fashion company Malia, run by Bill and Mary Foster, and is followed by an interview with fashion designer Jeffrey Berman, owner of fashion line Jeffrey Barr, about his business. The episode concludes with an interview with Gaye Pope, owner of the company Silks, about her fashion business.
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Local Communities
Fine Arts
Antiques and Collectibles
A Production of Hawaii Public Television Copyright, 1983. All Rights Reserved
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Associate Producer: Barnes, William
Executive Producer: Martin, Nino J.
Interviewee: Furer, Gloria
Interviewee: Nakastone, Trudy
Interviewee: Kunimitsu, Eunice
Interviewee: Foster, William
Interviewee: Berman, Jeffrey
Interviewee: Pope, Gaye
Narrator: Wilder, Kinau
Producer: Richards, Holly
Producing Organization: KHET
Producing Organization: PBS Hawaii
Wardrobe: Foster, Mary
AAPB Contributor Holdings
PBS Hawaii (KHET)
Identifier: 1487.0 (KHET)
Format: Betacam: SP
Generation: Dub
Duration: 01:00:00?
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Chicago: “Spectrum Hawaii; 019 And 020; Pegge Hopper, Desotto Brown, and Royal Isles; Fashion in Hawaii,” 1983-08-07, PBS Hawaii, American Archive of Public Broadcasting (WGBH and the Library of Congress), Boston, MA and Washington, DC, accessed September 18, 2020,
MLA: “Spectrum Hawaii; 019 And 020; Pegge Hopper, Desotto Brown, and Royal Isles; Fashion in Hawaii.” 1983-08-07. PBS Hawaii, American Archive of Public Broadcasting (WGBH and the Library of Congress), Boston, MA and Washington, DC. Web. September 18, 2020. <>.
APA: Spectrum Hawaii; 019 And 020; Pegge Hopper, Desotto Brown, and Royal Isles; Fashion in Hawaii. Boston, MA: PBS Hawaii, American Archive of Public Broadcasting (WGBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from