The University of Hawaiʻi at 惭ā苍辞补鈥檚 Fashion Design and Merchandising (FDM) program reached its diamond jubilee with its 60th annual fashion exhibition, “Kaleido: Fragmented Illusions.” Held at the 东精影业 惭ā苍辞补鈥檚 Campus Center Ballroom, the event showcased the technical skill and creative vision of student designers from the , emphasizing a future built on collaborative innovation and collective action.

Seven senior designers created their MINI collections, along with their videographies, and small, box-like, decorative booths to present their collections before walking the Kaleidoscopic runway.

Student to leader

Leading the production was senior designer Latisha Tong, whose personal journey mirrors the transformations on the runway. She served as production lead and president of the FDM student club, Stole Society, managing the progress of her peers while developing her own senior collection. Her designs, inspired by botanical growth, transitioned from “seed and soil” to a “sprout” and finally an “upside-down flower.”

This four-look progression served as a metaphor for her evolution from a student who knew nothing of sewing to a confident leader. Through this high-pressure role, Tong learned that true leadership involves advocating for others and accepting that sometimes, things don鈥檛 go as planned.

Technical rigor

The exhibition also showed the technical rigor required to move from concept to garment. Senior designer Roshini Joshua Monkin created a collection about the elegance of a wedding day by elevating simple garments into sophisticated wedding attire.

Senior designer Elliana Abcede highlighted four princess looks as her own dreams inspired by her cultural roots in the Philippines. With dual roles as a senior designer and the exhibition鈥檚 audio-visual manager, she managed venue logistics, noting that the road to the final show is paved with trial and error. Reflecting on her growth since 2023, Elliana shared that the program taught her to embrace failure as a necessary step toward success. Her advice to future students is to stay focused, as the technical demands of the exhibition prepare them for the professional world.

University of Hawaiʻi at Mānoa sophomore Lawrence Linton has secured a vendor spot at Riot Fest 2026 in Chicago—a national rock festival—less than a year after launching his own clothing line, Low Life Streetwear Company.

This achievement marks a career pivot for the 22-year-old Army veteran, who originally moved to Hawaiʻi last summer to pursue marine biology.

“There were many times when I was in my biology and chemistry lectures where I just didn’t get it,” Linton recalled. “My heart wasn’t into it. Whenever my mind would wander… I’d be thinking about design. I’d be thinking about my business.”

Linton formally switched his focus to the Fashion Design and Merchandising program within the . His entrepreneurial drive began after he struggled to find clothing that felt authentic to his identity. Dissatisfied with corporate brands, he started designing his own streetwear during his time at community college before arriving in Hawaiʻi.

Linton’s family roots also played a significant role in designing his clothing line, as his father was a graphic designer who screen-printed clothes throughout Linton’s childhood.

Low Life Streetwear Company focuses on graphic tees, hoodies and general streetwear.

Students from Maui鈥檚 Lahainaluna and Baldwin High Schools traveled to the University of Hawaiʻi at Mānoa for a hands–on immersion into the future of fashion technology in February. Hosted by the Fashion Design and Merchandising (FDM) program, these visits show students how traditional skills such as sewing merge with cutting-edge innovations like Computer-Aided Design and electronic textiles (e-textiles).

The events are a part of the 鈥檚 outreach strategy to introduce high school students and their teachers to educational paths and career opportunities in the fashion industry.

Tradition meets high tech

Students from Baldwin High School鈥檚 Poʻo Academy participated in intensive workshops designed to show the cycle of modern garment creation. Associate Professor Ju–Young Kang taught students about using Optitex design software to create fashion concepts, the first step in a garment鈥檚 life.

Professor Minako McCarthy expanded on this cycle by providing a design curriculum overview and how fashion collections are developed. She took students on a tour of the design and sewing labs, where they talked with current junior and senior FDM students.

“The students and their teachers were very engaged from the first sketch to the actual outfit presented at the fashion exhibition and show,” McCarthy said.

In a session with Assistant Professor Olaitan Adeleke, students from Lahainaluna High School experimented with innovative e-textile technologies, creating their own stitched LED “smiley” circuits. These students rounded out their experience with a traditional sewing workshop.

“It鈥檚 one thing to simulate things on software, but it鈥檚 another thing to really build it hands-on,” said Adeleke. “Connecting that physical integration with software is a beautiful one.”

FDM faculty work with high schools across Oʻahu and Maui as part of a broader recruitment and outreach strategy started by Professor Andy Reilly. Adeleke expects more than 40 students from other schools to participate in the coming weeks.

To celebrate Muʻumuʻu Month in January, the University of Hawaiʻi at 惭腻苍辞补鈥檚 program in Fashion Design and Merchandising (FDM) has a special exhibition of vintage muʻumuʻu, chosen by nearly 30 Waipahu High School students who could be the future of Hawaiʻi鈥檚 fashion industry.

Housed within the (CTAHR), FDM combines Hawaiʻi鈥檚 culture and agricultural heritage with modern design. By inviting teens into the Historic Fashion Collection, CTAHR is introducing young people to potential career paths ranging from designing to entrepreneurship and retail buying to sustainable fashion.

“It is our kuleana to help students succeed and find what they want to do in life,” said Andy Reilly, professor and curator of fashion design and merchandising. “We do this through the lens of fashion. Fashion starts with ‘dirt to shirt’—from the people growing cotton to those developing new textiles from coffee beans. We want students to see that fashion isn’t just about what you wear. It’s about culture, history, and business.”

Waipahu High School fine arts teacher Alice Iraha said, “I want to expose them to the history of our state and our fashion here in Hawaiʻi. When you live here, it鈥檚 good to know the culture of the people and where they came from. The process of learning the fashion industry can help them into so many other areas, like art or starting their own business.”

From textiles to high tech

In addition to curating the Historic Fashion Collection, the students were introduced to Computer-Aided Design for fashion by Ju-Young Kang, an associate professor in FDM. This technology allows designers to create digital sketches, develop intricate textile patterns, and visualize 3D garments before a single piece of fabric is cut.

Muʻumuʻu Month, which began in 2014 when Kauaʻi designer Shannon Hiramoto challenged herself to wear a different vintage muʻumuʻu every day in January, has grown into a statewide movement to preserve the history of the garment.

The student-curated collection will be on display in Miller Hall at 东精影业 惭腻苍辞补 throughout January. This collaboration highlights CTAHR鈥檚 commitment to honoring Hawaiʻi鈥檚 past while providing local students with the tools to build its future.

Ten freshmen and sophomore students at the University of Hawaiʻi at 惭腻苍辞补鈥檚 (CTAHR) have achieved a remarkable feat: their hand made, tie-dyed garment, “A Flower Bud,” premiered at the International Textile and Apparel Association showcase in St. Louis, Missouri.

The students鈥� achievement is all the more exceptional because of their grade levels; usually only junior or senior-level work is accepted.

What started as an extra credit assignment in 东精影业 惭腻苍辞补 Professor Shu-Hwa Lin鈥檚 class grew into a semester-long learning experience for the team, led by students Livia Langmade and Ayla Alamedia.

For Langmade, the project was a lesson in garment construction from the first stitch to the last. “I鈥檝e never made a piece like this from scratch before,” she said.

Alamedia, who first joined the project to gain more experience with sewing, learned the value of precision.

“For me, it was details,” Alamedia said. “I realized how important it is to have everything to be precise and to the best you can do it while doing the entire process and how each step of the process matters”.

International student Mana Yano also gained advanced skills, learning “how to carefully sew the dress and how to make a lot of ruffled parts” despite having limited prior experience.

Lin noted that the project provided the students with an integrated design process, pushing their performance “beyond freshman [and] sophomore” expectations and covering steps usually taught in senior classes.

Two University of Hawaiʻi at 惭腻苍辞补 students, Amelie Berg and Skylar Conley, have each been awarded a from the Pacific Asian Center for Entrepreneurship (PACE).

Berg’s project, Well Within, will be a subscription app and platform focused on helping users sustain a healthy mental and physical lifestyle. The platform will connect users and offer access to fitness classes and community events, in one easy-to-use application.

She was inspired by her experience using ClassPass in Australia, where she noticed more options, including beauty services, were available compared to the U.S. She aims for Well Within to collaborate with creators who may not have a large audience, offering activities that are free or more cost-efficient.

Conley’s project, Da Rack, is a mobile retail store that will curate and sell secondhand items, operating via pop-up events. She was inspired to create a mobile concept because many good secondhand shopping locations are not easy to get to without a car. Her goal is to “come to you,” traveling into neighborhoods, shopping malls and other areas not typically located in Honolulu. Conley also plans to source products from local small businesses that align with her brand and vision.

The two were students in the Entrepreneurship in Retail class taught by Mark Odanasan. The Fashion, Design, and Merchandising program is housed in the .

The Kalo Grant Program is a key initiative of PACE, and housed in the 东精影业 惭腻苍辞补 . It is designed to empower student entrepreneurs across the 东精影业 System by providing seed funding to develop and launch new business ventures.

Drawing from her undergraduate experiences at the University of Hawaiʻi at 惭腻苍辞补 (CTAHR), alumna Jada Rogers is now thriving in her fashion retail career. Rogers, a Kentucky native who chose to study at 东精影业 惭腻苍辞补 to combine her love of fashion with her desire to live in Hawaiʻi, is now a retail buyer at Maui Divers Jewelry.

Rogers focused on fashion merchandising during her time at 东精影业, and she credits a retail buying class taught by Professor Abbie Cristi for clarifying her career aspirations.

“That class helped me realize my passion for retail buying because I love math and I love fashion, and retail buying is essentially combining both math and fashion into a career field,” Rogers said.

In addition to her coursework, Rogers participated in an internship at Mikinola, a local boutique, where she gained hands-on experience in aspects of small business operations, including working on inventory, helping with store events, assisting on the sales floor and processing online orders. Rogers expressed that working at a local company made her a “more well-rounded person” and broadened her understanding of how a business operates.

Another formative experience for Rogers was a fashion show production class, which enabled her to work with design students, help produce a fashion show in 2021 and 2022, and find a professional mentor.

“The fashion show was completely virtual [in 2021] because of the pandemic,” Rogers said. “There were a lot of trials and tribulations and figuring that out, but we worked as a team and we did it! Through that class, I got to work with fashion producer Lynne O’Neill in New York Fashion Week. I am fortunate that Lynne and I have stayed connected after graduation.”

University of Hawaiʻi at 惭腻苍辞补 alumna Riana Kawamura returned to her alma mater to host a highly anticipated pop-up for her business, .

The small business, which she co-owns with her mother, Evangeline Kawamura, is known for their palaka-print tops and accessories.

“I noticed a gap in the market鈥攎ost palaka clothing was designed for older women,” said Riana Kawamura. “I wanted to create more modern, cute styles for younger women.”

Riana Kawamura鈥檚 classes at 东精影业 惭腻苍辞补’s piqued her interest in the field of merchandising and taught her valuable skills that have come in handy as a business owner.

“I learned how to build a brand and connect with customers,” said Riana Kawamura. “Since our demographic is my age, I know what they want, which really helps with marketing and design decisions.”

Sewing success

What started out as a sewing hobby for Evangeline Kawamura and an interest in merchandising for Riana Kawamura has blossomed into a local phenomenon.

The Kawamuras are no stranger to success, with every previous pop-up selling out, and online drops that sell out in minutes. Just reaching the one-year mark, their Da Palaka Girl small business has had an overwhelmingly positive response.

“I love that it鈥檚 locally made, and the owner is an alumni, so I鈥檓 happy to support her,” said business marketing major Cherisse Henley. “The clothes are just so cute.”

Their 惭腻苍辞补 pop-up was met with a warm reception by the 东精影业 惭腻苍辞补 community, as a long line full of hundreds of excited customers stretched around the heart of the campus.

“I鈥檝e been looking forward to this for a long time,” said Chloe Trover, an international business and marketing major at 东精影业 惭腻苍辞补.

Social media marketing spurs excitement

After experimenting with palaka and posting a few of their pieces on TikTok, demand grew quickly. Based on her experience, Riana Kawamura urges others to be bold.

“If you have an idea, just go for it鈥攅ven if it鈥檚 not perfect. If you鈥檙e hesitant or hold back, you might limit your potential,” said Riana Kawamura. “Social media is your biggest tool, so don鈥檛 be afraid to use it. Once you commit, go all in.”

Actress Te Ao o Hinepehinga, who plays Kupuohi on the Apple TV+ series Chief of War, was styled by recent graduate Kalia Ferri of the University of Hawaiʻi at Mānoa (FDM) program. Ferri鈥檚 original, hand-painted dress was featured in an exclusive shoot for .

The opportunity came through one of Ferri鈥檚 mentors, 东精影业 alumnus Matt Bruening. He invited Ferri to assist with three days of styling and press shoots for the Chief of War premiere event. On the final day, she secured a placement for her own design—a dress featuring a painted orange and red cut-out, drawing on the theme of natural decay and regrowth from shelf mushrooms.

The garment matched the photo shoot鈥檚 lava-inspired look, making it a perfect fit for the show鈥檚 visuals. Her dress debuted in the senior individual collection from FDM鈥檚 fashion exhibition in spring 2025.

Ferri credited experiences such as the fashion exhibition, her education and internship experience with providing a well-rounded skillset.

“I learned a lot from my fashion professor Minako McCarthy, who taught my design classes and encouraged my painting. And I thank my other teachers in courses for sewing, fashion forecasting, trend analysis and the business side of fashion,” Ferri said.

Her fashion journey will continue in the global fashion capital, New York City. With an impressive first placement in a major photoshoot, Ferri is one to watch as she heads to the Big Apple.

Designs that blend modern fashion with the cultural heritage of the Chin culture of Myanmar have earned a University of Hawaiʻi at Mānoa alumna a spot on the international stage. Hniang Sung will have two of her garments featured at the International Textiles and Apparel Association鈥檚 (ITAA) annual conference in St. Louis, Missouri in November.

The showcase is a major early career success for Sung, who came to the U.S. with her family as a refugee from Myanmar鈥檚 Chin State. Her designs are deeply personal, blending her journey as an immigrant and modern fashion.

“It feels like my ideas and culture come to life, and that’s what I’m truly grateful for,” Sung said. “This is a testimony of God鈥檚 grace and the support of my family.”

A recent graduate of the fashion design and merchandising program in the , Sung took inspiration from traditional items, such as bamboo baskets and Chokhleipar, the flower of the Chin culture in Myanmar.

Her senior collection, which was refined and submitted to the association by her professor and ITAA sponsor Minako McCarthy, will be one of the collections showcased. This highly competitive process has an undergraduate design acceptance rate of 36.5%–making it a milestone for students.

Sung credits her time at 东精影业 with helping her grow as a designer and gain confidence, particularly with the support of her mentor, McCarthy. For Sung, having her work accepted for the exhibition means her designs are being recognized on an international level.

“Hniang鈥檚 story is inspirational to everyone who came to the U.S. seeking more opportunities and a better life,” McCarthy said. “She overcame incredible hardships, found a community of similar spirits at 东精影业, and has a bright future ahead of her.”

From plantation fields to the modern fashion runway, the iconic checkerboard pattern known as palaka is more than a fabric; it鈥檚 a symbol of Hawaiʻi鈥檚 history, resilience and identity. According to a University of Hawaiʻi at 惭腻苍辞补 fashion expert, the historic textile is experiencing a resurgence, solidifying its place as the “denim of Hawaiʻi.”

Andy Reilly, a professor in the Fashion Design and Merchandising program, predicted this comeback in a 2023 东精影业 News story, and has since seen the trend flourish. He attributed its revival to a deeper connection with local culture and history.

“It’s been said that palaka is the denim of Hawaiʻi. It’s ubiquitous,” Reilly said. “It crosses over ethnic lines, now it crosses over class lines, and it has a rich history in Hawaiʻi. Many of the people who live here have ancestors who probably wore palaka on the fields.”

History of palaka

The story of palaka began in the early 1800s with the arrival of sailors. The name itself is believed to be a Hawaiian transliteration of the English word “frock,” the shirt worn by sailors. The original cotton fabric likely came from New England, with a plaid called “Cranston Plaid” bearing a strong resemblance to early palaka.

By the early 20th century, the dense, durable fabric became essential during the plantation era. Its signature blue-and-white check was especially appealing to Japanese immigrant workers, reminding them of the traditional indigo-dyed fabrics in Japan.

The fabric鈥檚 transformation from simple workwear to a symbol of local pride was possibly catalyzed by the infamous Thalia Massie case in 1931. This miscarriage of justice helped unify Hawaiʻi鈥檚 diverse ethnic groups.

“After the Massie affair, people saw themselves as unified against the power structure that was here,” Reilly said. “My supposition is that’s when it really started to take off as meaning of the working people of Hawaiʻi.”

Palaka power

The fashion evolution of palaka began in the 1960s and ’70s with the introduction of new colors such as red, yellow and green. The 1980s saw the rise of the “Palaka Power” movement, a statement of pride for the descendants of Japanese plantation laborers who had achieved political and economic success.

Today, local designers such as Matt Bruening and Kini Zamora are breathing new life into the historic pattern by experimenting with different colors, playing with the scale of the print and cutting the fabric on an angle to create fresh looks. The pattern was also featured in a recent, sold-out collection of 东精影业-branded bags by ALOHA Collection.

“People always recognize the palaka fabric just from that blocky plaid design,” Reilly said. “When people think of Hawaiʻi and fashion, they usually refer to the aloha shirt… but there’s so much more about Hawaiʻi and the fashion history beyond the aloha shirt, and palaka is just one good example of that.”

Hawaiʻi Island teens took needle and thread to the next level at a hands-on 4-H Fashion Camp in Honokaʻa where they learned from community volunteers, University of Hawaiʻi at 惭腻苍辞补 faculty and industry insiders. The camp was a collaboration between Hawaiʻi 4-H and the 东精影业 惭腻苍辞补鈥檚 Fashion Design and Merchandising program.

Fourteen students created tank tops and shorts while learning the basics of sewing, fashion and entrepreneurship. The weeklong camp was taught by Honokaʻa High School fashion teacher Lisa Anderson, with support from the 东精影业 惭腻苍辞补 College of Tropical Agriculture and Human Resilience (CTAHR) and local nonprofit Sew Fun.

Students explored fashion business, design technology, textiles and the history of the Aloha Shirt. The program highlighted fashion鈥檚 deep roots in agriculture through natural fibers such as cotton and wool, connecting students to career possibilities in Hawaiʻi鈥檚 growing fashion and creative industries.

“I liked learning how to sew. I鈥檝e never sewn before so I loved learning the basics,” said one camper. Another added they enjoyed “the sewing and friends.”

Stoking passion for fashion

Guest speakers included Mariah Toledo-Tavares of Kalo Kini Swim, Chris Whitaker from ʻOhana Fiber Mill, and Sarah Anderson of Sarah Anderson Photography, who shared stories of turning creative passions into careers. The week wrapped up with a student-run photoshoot, where participants modeled their handmade outfits.

“This was a great opportunity to bring education, industry and community together to inspire students,” said CTAHR professor and fashion researcher Andrew Reilly. He organized faculty contributions from Minako McCarthy, Marie Abigail Cristi-Kim, Youngjin Bahng and Ju-Young Kang.

Surveys showed nearly half of the students were more interested in fashion careers after camp. Parents shared that their teens have since started sewing clothes at home.

The camp was organized by CTAHR Extension Agent Marielle Hampton as part of the Hawaiʻi 4-H youth development program, with funding from CTAHR鈥檚 Department of Family and Consumer Science and fabric from Discount Fabric Warehouse. For more information, contact hamptonm@hawaii.edu.

Fashion students at the University of Hawaiʻi at 惭腻苍辞补 are designing the future, literally. In the spring 2025 semester, students in Associate Professor Ju-Young Kang鈥檚 took a bold step forward. They didn鈥檛 just use 3D design software to create fashion, they teamed up with artificial intelligence (AI) to push their creativity further than ever before.

The class, part of the FDM program in the , has been producing 3D virtual fashion shows since 2015. However this year marked a first. Students used AI tools alongside 3D software to create lifelike fashion designs and videos. They learned how to guide AI in generating images and videos, then refined those results into complete digital looks.

“I鈥檓 so proud of our students for their commitment and the effort they put into their 2D/3D CAD projects, integrating 3D software with AI-driven virtual catwalks,” said Kang. “It was incredibly rewarding to help our students explore new and creative ways to use digital design software and AI technologies.”

Tech-driven design

The class projects were a mix of art and innovation. From realistic outfit renderings to full-on virtual runway shows, the results showed what happens when fashion and technology come together.

Fifty-four students shared their work at the 59th Lasting Legacies fashion exhibition on May 2, at the 东精影业 惭腻苍辞补 Campus Center Ballroom. More than 190 guests came to see how students used both AI and software to bring their visions to life.

FDM student Samantha Maeda expressed her fascination with exploring new creative possibilities.

鈥淯蝉颈苍驳 AI platforms in the FDM 338 fashion CAD project gave me a sense of creative freedom, speed, and enhanced visual storytelling,” Maeda said. 鈥淭he most motivating factor was being able to generate professional-looking visuals efficiently, which made the design process more dynamic, inspiring, and accessible.

FDM is housed in the .

For nearly six decades, the annual fashion exhibition at the University of Hawaiʻi at Mānoa has been a signature showcase of creativity and craft. This year鈥檚 show, Lasting Legacies, marked the 59th鈥攁nd final鈥攅dition of the traditional format, as the (FDM) looks ahead to a new chapter.

Held on May 2, the student-led event brought 12 senior mini-collections, two group lines by juniors, and nearly 90 models to the runway at the 东精影业 Mānoa Campus Center Ballroom. Each piece told a story of heritage, resilience and personal growth.

“Many of our students are going to work in the fashion industry, and this gives them the experience of creating a collection 100% by themselves,” said FDM instructor and student mentor Minako McCarthy. “They find their inspirations, set up their storyboards and then move into designs, making a garment, and staging their models.”

Designing every detail

From concept to catwalk, students handled it all: design, construction, media production and event logistics.

Elliana (Yana) Abcede, the production lead, managed the massive effort behind the scenes.

“I became more assertive and decisive. You cannot be a people pleaser in this position. You learn when to say no, when to say yes, and to trust your decisions,” Abcede said.

Senior designer Hniang Sung based her line of clothing, Chin Legacy, on her upbringing in Burma鈥檚 Chin State.

“I took inspiration from traditions, cultural symbols, and childhood memories. It is a way to showcase my cultural background and uplift the people of Myanmar,” she shared.

Student designers Eleanor Osterloh and Marisa Kim also made bold statements on the runway with their collections, Bone House and Grit and Glitz.

A new chapter

“Fashion changes, but style endures,” said iconic clothing designer Coco Chanel. And so change has come for the long-running fashion exhibition at FDM. With a long and proud history within FDM, the and , organizers said next year it will return, revised and refreshed.

This week鈥檚 东精影业 News Image of the Week is from the Honolulu Community College and 东精影业 惭腻苍辞补 fashion shows!

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Student entrepreneurs with a passion for fashion benefitted from a University of Hawaiʻi at 惭腻苍辞补 team-up.

The (PACE) in 东精影业 惭腻苍辞补鈥檚 partnered with the in the (CTAHR) in fall 2024 and spring 2025 to launch a special edition of its speaker series—dedicated to fashion.

The series was created to inspire haum膩na (students) to launch their own fashion ventures while highlighting the thriving and diverse fashion sector in Hawaiʻi. This collaboration served as a bridge between the creative and business communities, showing haum膩na the many pathways into fashion entrepreneurship and how to carve out their own space.

“The overwhelming student engagement, including from diverse backgrounds, underscore the value of this sector-specific collaborative initiative,” said Sandra Fujiyama, executive director at PACE. “We see this as a valuable model for the future and are excited to explore developing more sector-specific series like this.”

Series lineup

• Rocket Ahuna, founder of namesake brand ROCKET AHUNA, opened the series by sharing how he built a beloved lifestyle brand that celebrates Hawaiian culture and tradition. .
• Kini Zamora (Honolulu Community College alum) gave a behind-the-scenes look at his experience on Project Runway and how he used that momentum to grow a design house rooted in Hawaiʻi, where storytelling and local pride fuel each collection. .
• Matt Bruening (FDM and CTAHR alum) and Rumi Murakami gave insight into the grind of building a brand from the ground up, managing creative direction and navigating fashion in an island state with global aspirations. .
• Kris Goto, a visual artist known for her whimsical characters and murals across Honolulu, shared her journey from manga dreams to street art fame, offering a fresh lens on her entrepreneurial journey as an artist. .
• Lyn Sakutori (always a.line), a FDM and CTAHR alumna, and Camille Heung (Aloha Cut + Cloth), in collaboration with the Hawaiʻi Technology Development Corporation, talked about the production and manufacturing side of fashion—giving students a rare peek into the tech and logistics behind the seams. .
• Closing the series was 碍奴丑补ʻ辞 Zane of Sig Zane Designs, who spoke in collaboration with the Hawaiʻi Leadership Forum. Zane brought the audience into his world of cultural stewardship, design legacy and the responsibility that comes with carrying a family brand into the future. .

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“I think it was great that FDM and PACE collaborated on these events,” said Johnell Ladera, a fashion design and merchandising student. “I found them very intimate and informative. It also gave me a greater appreciation of the work that goes into becoming renowned as an entrepreneur.”

Mark Oandasan, PACE marketing and program coordinator and CTAHR alum, driven by his passion for the intersection of fashion and entrepreneurship, spearheaded this collaborative effort with FDM Instructor Marie Abigail Cristi. Throughout the course of the series, more than 150 attendees from diverse backgrounds came to learn, connect and walk away with actionable insights and real stories from industry insiders. Haum膩na with backgrounds in computer science, business, botany, art, engineering and anthropology from 东精影业 惭腻苍辞补, 东精影业 West Oʻahu, Kapiʻolani CC and Honolulu CC also attended.

This collaborative effort was made possible, in part, through the generous support of Tony Bernheim, sponsor of PACE鈥檚 Entrepreneurship Live events in honor of Saul Reinfeld, Catherine Lynham and Alan Wong.

For their case study of Native Hawaiian fashion designer a University of Hawaiʻi at Mānoa research team earned top honors at the 2024 International Textile and Apparel Association (ITAA) conference. Their work explored the intersection of cultural values, sustainability and authenticity in fashion design.

Representing the 鈥檚 Fashion Design and Merchandising program, Professor Andy Reilly and graduate student Jordan Antonio received the Paper of Distinction award for the culture track at the 2024 conference of ITAA, held in Long Beach, California, in November.

Kamohoaliʻi started his fashion company in 2005. He has garnered attention in the fashion industry for years and has even shown his works on New York runways. Reilly and Antonio鈥檚 paper assessed how Kamohoaliʻi utilizes cultural values to guide his designing and manufacturing processes. The paper will be published in early 2025.

“Jordan and I are grateful to be recognized for this work,” said Reilly. “As this award is determined by my peers, it is high praise. We are in debt to Micah Kamohoaliʻi for lending his time and perspective on how to address some of the ills of the fashion industry, like waste and sustainability.”

ITAA is the premier organization for textile and fashion scholars and presents awards based on a rigorous selection process. This research was made possible through a Hatch Act grant from the U.S. Department of Agriculture, Cooperative State Research, Education and Extension Service.

Aloha Airlines was known at one time in Hawaiʻi as “The People’s Airline” and served the state from 1946–2008.

A collection of Aloha Airline uniforms were donated to the University of Hawaiʻi at Mānoa College of Tropical Agriculture and Human Resources (CTAHR) Fashion and Design Merchandising (FDM) program for research and to preserve the history of the airlines. The collection tells a 60-year history of the ever changing fashion trends reflecting in the uniforms along with the local designers and manufacturers that produced them. 

The uniforms were donated by Debbie Martinson, a 东精影业 Mānoa alumna and former Aloha Airlines flight attendant. Martinson and many other former flight attendants understood the nostalgic importance of these uniforms and have kept them in perfect condition since the airline’s last flight 15 years ago.

“It made sense for the 东精影业 Fashion Design and Merchandising program to maintain this collection and share the story of fashion trends and the value of branding through identity apparel,” Martinson said. 

The uniforms are now part of the 东精影业 Historic Costume Collection that already has more than 10,000 items of dress related to the people and history of Hawaiʻi, including subcollections of Hawaiʻi, Asia, western and global dress.

“The addition of the uniforms of Aloha Airlines adds a significant element to the collection and helps preserve the history of 贬补飞补颈ʻ颈鈥檚 air travel,” said collection curator Andy Reilly of FDM. “I think everybody who has lived here during the time that it was in service has a memory of flying on Aloha Airlines and that it was so iconic and ingrained in the islands here. So every piece tells a story and we鈥檙e really lucky that the flight attendant kept their collection, kept their clothing and wanted to preserve it.”

The 东精影业 Historic Costume Collection was declared a “state treasure of historic importance” in 2009 by the state senate and is used by students, faculty, and scholars for research, Reilly said. 

The collection takes you back in time

With Aloha Airlines鈥� inaugural flight in 1946, flight attendants wore form-fitting muʻumuʻu as they performed hula greeting their guests. Transitioning into the 1950s, designers drew inspiration from Dior鈥檚 “New Look” collection, marking the post-war era鈥檚 commencement that consisted of a classic suit complemented by a pillbox hat.

The Fun Birds, introduced in 1969, was inspired by the Flower Power theme that was taking off in the fashion industry. It was a true fashion statement of the ‘70s with bell-bottom pants, mini skirts and bikini bottoms, hipster belters and a vinyl cape.

Local fashion designer Baba Kea created the Clouds in the Sky collection in 1976. Uniforms featured a bold print with distinctive color-tones and styles. The orange skirt featured a slight empire waistline and was reversible with the cloud print.

Waves in Teal and Tan was introduced in 1983. This line featured the obi belt look, with a splash of orange that was consistent with Aloha Airlines’ iconic color. This collection was also reflective of the company’s new flights to Guam and Taipei. The long dress style was designed to emulate elegance, similar to other Asian airlines such as Japan Airlines and Singapore Airlines.

As Aloha Airlines approached the conclusion of its journey through the Pacific skies, the final design unveiled a compilation of Banana Leafs crafted by Tori Richard, drawing inspiration from the artistic vision of Peggy Hopper.

A University of Hawaiʻi at 惭腻苍辞补 research team presented their ideas to improve fire-resistant gear currently on the market for firefighters to NASA experts who study fire shelters that are deployed during forest fire emergency situations.

Led by Shu-Hwa Lin from the 鈥� (CTAHR) , program, the team presented their innovations during NASA鈥檚 (MITTIC) held at the Johnson Space Center in Houston, Texas, from November 29 to December 1.

The team, called Inferno Tech, consists of 东精影业 惭腻苍辞补 students: team leader Chester Leoso, Matthew Kirimitsu, Johnathan Hollis, Alexander Castillo, Johnell Ladera, Jason Merlander, Louis Jeffers-Fabro and Rio Chappot. They are the first Hawaiʻi group to participate in the federal space agency鈥檚 contest, and competed against nine other university teams across the country.

MITTIC is similar to Shark Tank, where, in front of Space Tank Judges (business coaches), students were given the #SpaceToPitch their innovative ideas for new technologies that can benefit their campus, community and the world. MITTIC offers monetary awards for selected teams, with the winning team receiving $20,000 and the second team receiving $10,000. Additionally, students receive better opportunities for MITTIC internships.

Although the team did not receive the winning prizes, they received inspiration and motivation to make changes in their community.

“It was inspiring to see so many people at NASA working hard to make changes in the world. Each change may be small, but make a significant difference for all of mankind,” said Kirimitsu, the team鈥檚 manager of public affairs. “That is why NASA needs university students to start making these changes to impact their generation. We want to eventually start working with other accelerators and competitions here in Hawaiʻi to start a movement of entrepreneurship here at 东精影业 惭腻苍辞补.”

The opportunity to make a change

Firefighting is associated with various cancers, as they work in and around dangerous environments and carcinogens. In addition, fire suits typically contain perfluoroalkyl and polyfluoroalkyl substances known as PFAS, or forever chemicals, which are toxic to humans.

“We are researching sustainable materials that can be manufactured to create chemical-free turnout gear for firefighters,” said Kirimitsu. “We hope to take our research to the next level by collaborating with NASA to get feedback, and be an inspiration to other 东精影业 惭腻苍辞补 students who want to start their careers with NASA.”

After interviewing local firefighters, the team concluded that fire personal protective equipment desperately needs to change, and they felt obligated to create a solution that could maintain firefighters鈥� long-term health.

“Firefighters deserve protection that keeps them safe from fires, as well as later illnesses that can result from being a firefighter. It can [also] help protect our community from toxic chemicals that are released in high-danger environments,” Kirimitsu said. “Fires are not going away anytime soon, and we want to keep our firefighters and our ʻohana safe. NASA is allowing us an opportunity to make a change, and I am excited to meet some of these highly intelligent individuals.”

A student鈥檚 original fashion design, which drew inspiration from a Japanese children鈥檚 tale of a princess who creates intricate clothing beside the Milky Way river, has been selected to be on international display.

Created by Leah Aoki from the University of Hawaiʻi at 惭腻苍辞补 鈥� (CTAHR) program, the garment was chosen by the (ITAA) after undergoing a blind-review process with an acceptance rate of 28% in the undergraduate category. In addition to the garment, an in-depth research paper was required, which held the majority of the weight in ITAA鈥檚 selection process.

“I am very excited to be able to travel to Baltimore this coming November for the ITAA conference and show my piece alongside other aspiring undergraduates in my field,” said Aoki. “All of my hard work and research paid off. I hope to build connections with other fashion students and faculty over the course of the conference.”

Aoki will be traveling with her mentor, Fashion Design Instructor Minako McCarthy, who played a major role in Aoki鈥檚 submission. Because the ITAA is a professional, educational organization, they examine both the students鈥� skills and mentors鈥� abilities. In addition to supporting and encouraging multiple students to submit their garments and abstract to ITAA, McCarthy is present for each step of the process to complete the submission together.

“Submissions to ITAA aren鈥檛 a part of classwork, so every year, I choose a few students that work closely with me to submit the package (the garment and abstract) to ITAA in time,” said McCarthy. “Leah鈥檚 design had unique elements with clear and cohesive ideas that were connected to her design, and her construction techniques were well presented through the dress.”

Storytelling in style

Aoki鈥檚 garment was a part of her senior collection which was showcased in the 57th 东精影业 惭腻苍辞补 annual fashion show, Supersonic!, held on April 30 at the Hawaiʻi Convention Center. Her collection pulled inspiration from the Tanabata festival, which started from a Japanese children鈥檚 tale originally adapted from China.

The particular garment selected by ITAA tells the story of Princess Orihime whose job is to weave luxurious garments alongside the Milky Way river. Elements of the story are represented through various style, fabric and color choices of Aoki鈥檚 piece.

“The silhouette of the dress displays a different look into Japanese fashion, the Victorian influence on Lolita fashion (a subculture of Japanese street style),” explained Aoki. “The navy blue color of the dress represents the endless night sky, while the gold abstract stitching on the front and back of the dress portrays the threads that she used to weave clothes, as well as the stars and constellations in the night sky. Many of the decorative designs that you see with the gold are my take on traditional Japanese kimono motifs.”