Aloha Shirt | Images of Old Hawaiʻi

January 4, 2019 by Peter T Young 1 Comment

Elsie Jensen Das

In a March 24, 1950, feature, the Honolulu Advertiser wrote, Elsie Das “can lay close claim to being the originator of the Aloha print … Chances are you have a Das design on a shirt or dress in your closet right now.” (Hope)

“Her finished works are poignant, powerful, unforgettable and unmistakable. They’re eminently wearable. Their colors sing. Dour men turn beaming countenances on the world when they wear an Elsie Das aloha shirt. Don’t ask us how or why, they just do.”

“Elsie Das is an original, with a highly trained technique. As fine a painter as she is a designer. Hers is a quality akin to genius.” (Madge Tennant, Paradise of the Pacific, October, 1955; Hope)

Let’s look back …

Gobindram (GJ) Watumull took over the Honolulu ‘East India Store’. In 1922, he married Ellen Jensen, an American music teacher. Ellen was daughter of Danish parents, Carl and Marie Christensen Jensen. (IPAHawaii and Sharma)

Ellen’s sister, Elsie Jensen, was born in 1903 in Portland, Oregon. “Elsie’s particular interest of course was art and I well remember the day when she graduated from high school and Mama said to her, Mama being a very strong-minded woman, ‘I would like you to stay out of school for a year and spend the time on music.’”

“Elsie stamped her foot on the floor and said, ‘If I can’t spend the time on art, I won’t do anything.’ And of course that was what she was intended to do because she became a very fine artist and designer.” (Watumull)

She attended Portland Art School, and on her twenty-first birthday moved to San Francisco and began to study art at UC Berkeley. However, Elsie did not find herself engaged in her design class. Elsie traveled to Hawaii in 1928 to visit her sister, Ellen. Elsie then started working at Watumull’s East India Store as a window display designer.

In 1931, she followed in her sister’s footsteps and married an Indian man living in Hawai‘i, Upendra Kumar Das. Their daughter, Patricia Naida, was born in 1930.

Upendra Kumar Das was a biochemist who worked as the head of research at the Hawaiian Sugar Planter’s Association (HSPA). He died in an explosion at his workplace in 1937. (Honolulu)

In 1936, Das worked with her brother-in-law to develop the first Hawaiian fabric prints. Initially, she painted by hand in one color on Fuji silk, and then she started hand-blocking prints in Watumull’s home basement. Later, she moved her art studio to a large office, complete with supporting staff, in the Watumull Building on Fort Street.

Watumull’s East India Store commissioned artist Elsie Das to create hand-painted floral designs on silk for interior decoration. Her clothing designs would come later. (Honolulu)

Das’ designs were an instant success and a tremendous boost to the business. The Watumull name became synonymous with Aloha apparel, which became a part of Hawaiian culture and history.

Das is credited with pioneering the Aloha shirt as we know it today; Hawai‘i’s scenery, from the Ko‘olau Mountains to palms, volcanoes and beaches – not to mention its exotic maidens, provided ample material for colorful and sometimes outrageous patterns. By the mid-1930s, the aloha shirt was here to stay. (Allen)

Before World War II, she studied Japanese ink painting in Kyoto. During the war, she was the first woman to design camouflage for the US engineers in Honolulu. It is said that every strategic spot between Honolulu and Wake Island was camouflaged with Elsie Das designs. (Hope)

Artists and designers began to interpret their island surroundings. Elsie and others started to create their own designs substituting what had traditionally been Japanese styled motifs and prints on the imported fabrics.

Diamond Head was substituted for Mt. Fuji, Japanese pine tress changed to coconut tress, and thatched huts with ocean scenes and surfers, canoes on waves, canoes sailing, fish and flowers replaced bamboo, cranes, tigers and shrines that characterized the first prints from the Orient. (Hope)

In 1953, she opened a Honolulu dress shop featuring her original Hawaiian sportswear, and he’ pieces were the feature of sold-out lunchtime fashion shows at the prestigious Outrigger Canoe Club in the mid-1950s. (Hope)

Elsie Das twice won the John Poole Memorial Award for distinguished block printing. She was honored with a one-woman show at the Honolulu Academy of Arts, and articles about her work appeared in national newspapers and magazines such as House and Garden and The Christian Science Monitor. Das died in 1962. (Lots of information here is from Hope, Honolulu, Watumull, Allen and Sharma.)

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Elsie Das and Nobuji Yoshida-Hope

Elsie Das Design

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November 8, 2018 by Peter T Young Leave a Comment

Musa-Shiya The Shirtmaker

Musashi was a province of Japan, which today comprises Tokyo Metropolis, most of Saitama Prefecture and part of Kanagawa Prefecture. It was sometimes called Bushū. The province encompassed Kawasaki and Yokohama. (My Japanese Hanga)

Chotaro Miyamoto emigrated to Hawai‘i from Japan on the ship named the Tokyo Round in 1885. He started ‘Musa-Shiya’, a store in Honolulu on ‘A‘ala Lane, not far from River Street and named it after his hometown province (the name was a combination of Musashi and ‘ya’, meaning ‘place’ or ‘store.’ (Hope))

“Miyamoto sold dry goods and did some custom tailoring. His son, Koichiro, was sent to Japan at the age of six in 1901. A couple of years later, Chotaro moved his business to a new location on King Street, near River Street and the busy Honolulu fish market.”

“After the merchant died, his son, Koichiro, despite poor English skills and scant business knowledge, moved back to Hawai’i in 1920 to run the family business.”

“Miyamoto wanted to expand Musashiya’s tailoring business. The young merchant had been sending broadcloth orders to the big textile firms in England, but due to World War I, he didn’t receive his fabric orders and impatiently ordered more.” (Hope)

“Year after year Musa-Shiya had sent his order for shirtings to the Englishmen. The first year of the war his order was unacknowledged. The second year passed and there were two orders in England for Musa-Shiya that were unfilled.”

“He sent more orders.”

“Patience and persistence were his two virtues. Patience and persistence made this particular day the saddest day of his life, when he read the custom’s house manifest on a huge box from England. The orders of five years had been filled in one shipment! The little shirt maker saw his end. It was beyond him to save himself.” (Haase)

“There was young Miyamoto, suddenly surrounded by many bolts of the finest English broadcloth. The store overflowed, and more was on the dock.”

“Fine broadcloth in those days meant only one thing. Fine shirts. So the young merchant sought out the finest seamstresses in Honolulu, and they began making very fine shirts indeed.”

“Miyamoto now had to sell those quality shirts. He went to the advertising offices of Charles R. Frazier, where copywriter George Mellen became intrigued with Miyamoto’s pidgin English.” (Hope)

“Now Musa-Shiya had a friend, a haole friend … The haole friend was inspired. The little shirtmaker agreed that the big business man’s advertising agency could run the shop of Musa-Shiya should it so desire.”

“The little shirtmaker began to live in the advertising pages of a Honolulu newspaper. The advertising man had chosen the obvious and easily overlooked style of copy. He wrote Musa-Shiya’s tale of his business … in pidgin-English.” (Haase)

“Here are the headings and introductory of one of his ads … ‘Owing to slightly perspiring climate of Honolulu and adjacently adjoining territory all these persons abiding therein require more than usual undershirt. Undershirt for every day practically inevitable. If more fat, sometimes two for day is advisory.’”

“He follows this with an announcement of ‘good news of undershirts 10 per cent off for one week.’ … (and later includes,) ‘Because shop of Musa is very small and locality obscuring, prices is also, but explorer will find’”. (Dry Goods Economist, December 12, 1922)

“Observe also the diplomatic way in which Mr. Musa introduces the subject of sweaters and explains why these warm garments are needed at times even in Hawaii. His ad on this line of merchandise says:…”

“‘Speaking of sweater in Honolulu may be misconstewed for insult to famous climate. Yet not so. Climate at some instance require sweater.’”

“He speaks of the use of sweaters in automobiling and also ‘when obtaining generous perspiration by long tennis and other muscle excitement.’ In the latter case ‘sweater,’ he points out, ‘is natural result for protection from Sneeze.’”

“Mr. Musa’s English is peculiar, but it is away ahead of the Japanese (or any other foreign language) that most of us could write. And Economist readers will admit, we believe, that there is nothing the matter with his instinct for effective publicity.” (Dry Goods Economist, December 12, 1922)

“He found the way to bring people to an obscure shop. The advertisements, attracting attention by their typography and drawings, were read. If the reader of the advertisement stopped to analyze the copy he would find that it dwelt upon the fact that the little shop was hard to find …”

“… but once found there were great rewards to be had in un usual shirtings for the persistent one. Of course the copy didn’t neglect to say that price would be in keeping with the size of the shop. By this method the agency man created great interest in Musa-Shiya throughout Honolulu.” (Haase)

“During the first week, the advertisements followed close upon one another. At the end of the week the agency man called on
the little shirtmaker. ‘You didn’t think it could be done, did you?’” … ‘No, but business very good and every body say very nice advertisement.’”

“The spectacle of a solid line of busy clerks behind the counters now replaced the old scene of Musa-Shiya and his partner sitting in the corner of the shop, finding time heavy on their hands.”

“The clerks were not only selling shirting, but handing out Musa-Shiya’s ginghams, flannels and silks, for it should be known that Musa-Shiya sold a general line of dry goods, and that the advertising was moving those goods also.”

“From that week on the little shirtmaker continued to advertise. Advertising is now part of his business. He likes it. He hears from his advertising from all ends of Hawaii. Tourists in Hawaii clip his advertisements and send them home. These tourists, themselves, come to the little shop.”

“The clippings they send bring others when they come to Honolulu, and even bring orders from people in distant lands who never expect to come to Honolulu, but who have been goaded into action by the advertisements.”

“(H)e says : ‘Because for appreciating delightful results business and many customers now coming this shop where shirt make and dry goods American and Japanese style selling …’”

“‘… also following very nice advertisement in Star-Bulletin daily news papers for two year mostly, feel very kinely for advertisement which everybody say very nice advertisement and asking one copy keeping person ally which have not got so order make some more on piece paper from house of printing.’”

“‘We incline mystery for this action but explaining away clearly when man living his home Kansas U. S. sending old shirt also advertisement also letter demand six shirt hand made similar to this one but pongee kine.’”

“‘Also one lady thin kine living home Boston, U. S. presenting advertisement from many month old ask if this same shop Musa-Shiya and while writing hand book with short pencil print one side ‘Fire Insurance.’ This lady not buying shirt and something else but saving come again and smile nicely.’” (Haase)

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Koichiro Miyamoto-Musa_Shiya the Shirtmaker-TheAlohaShirt

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Musashiya Ad-Kinouya

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May 22, 2017 by Peter T Young Leave a Comment

Branfleet

French Actor George Brangier met Duke Kahanamoku in Los Angeles while both were acting. Brangier asked Kahanamoku to teach him how to surf. Kahanamoku agreed. Brangier moved to Hawai‘i in 1928. He later returned to the Islands after serving his French military obligations. (Nendel)

Brangier and a California surfer, Nat Norfleet Sr, started Branfleet in January 1936 at 1704 King Street. “We began like nearly everybody else in the business – not with a pair of shoestrings but with on shoestring between the two of us.” (Norfleet; Devine & Marcus)

“Red McQueen had brought back from the 1932 Olympics in Japan some shirts made out of silk kimono cloth. We copied them to produce our first aloha shirts. … Elmer Lee had a stand in front of the old Outrigger Canoe Club where he sold coconut milk and pineapple juice, and he sold our horrible shirts.” (Devine & Marcus)

The company was one of the first to switch from making strictly tailor-made shirts to making them through a manufacturing process. (On July 23, 1939, they moved into a factory on Kapiʻolani Boulevard. (Krauss))

“The factory will turn out a complete garment from the design and pattern of the finished product. A special designer, Betty Gregory, will design for Branfleet sports wear. A staff of 45 persons is employed by the company.” (Advertiser, July 23, 1939)

In 1937 Branfleet signed Duke Kahanamoku to a five-year contract allowing them to use the noted champion’s name on their sportswear. The shirt tag stated, “this is designed by Duke Kahanamoku, World’s Champion swimmer, and is made in the Hawaiian Islands.”

Kahanamoku’s name recognition allowed Branfleet to be the first Hawaiian company “to supply sportswear to the US mainland on a large scale.”

The agreement allowed Kahanamoku to make 35 cents per dozen shorts sold and $1.00 per dozen for shirts sold. Since a dozen shirts typically sold for an average of $12.00 wholesale, Kahanamoku’s take ended up being less than 10% of the sales. (Nendel)

“Branfleet is the originator of ‘Duke Kahanamoku’ shirts and swim suits, also the ‘Kahala’ brand of all types of women’s sportswear, and the popular island ‘in and ‘out’ shirt.” (Advertiser, July 23, 1939)

With both their “Kahala Sportswear” and “Duke Kahanamoku Beachwear” lines, under the Branfleet label, Brangier and Norfleet would eventually (1951) rename their company Kahala to avoid confusion.

Considering that the aloha wear industry and Branfleet were relative newcomers to the mainland marketplace this contract represented a reasonably fair deal for Kahanamoku.

However, due to the novelty and youth of the industry the company never approached the great success that they had envisioned at the start of the contract. (Nendel)

Branfleet popularized a fabric they trademarked as “Pineapple Tweed”, which was a rough but strong linen, and was used in simple long sleeved shirts adorned with the Hawaiian crest and its motto.

During World War II, the Aloha shirt industry thrived as GIs stationed on the Islands wore them while off-duty, and the shirt became popular with locals now deprived of imports.

After the war, servicemen transported them back to Mainland. Between the 1940s and ‘60s, Kahala’s complete line of women’s clothing met with great success across the country, and the firm went on to produce clothing for some of the era’s best surfers.

The “Duke” was associated with the company again in 1961. During this period a Duke Kahanamoku label was created with the words “made in Hawai‘i by Kahala” directly beneath Duke’s name. (Myers)

But by the 1970s the company had fallen into disarray. Once one of America’s leading clothiers, it finally went bankrupt. Dale Hope bought the Kahala name in 1979.

“We wanted to keep its legacy going with quality garments, and interesting art reflecting a passion for the Islands,” he recalls. “But it had a formidable reputation.” (Myers)

Hope had been working with his dad in the men’s shirt business under the label HRH (His Royal Highness.) “Our label was confused with the English royalty; it wasn’t romantic; and it was a hard name to advertise,” says Hope.

The name Kahala was also the name of a fashionable O‘ahu neighborhood bounded by Kahala Beach. “I wanted to change the name,” he says, “so we threw a big garden party and fashion show at a house on Kahala Beach.” He sold in 1991; then, Tori Richard bought the company in 2006.

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Branfleet Ad-Adv-July_23,_1939

George Brangier

Jackie Eberle, Robert August, Dick Metz, Nat Norfleet and Duke Kahanamoku-McCullough-1965

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April 4, 2017 by Peter T Young Leave a Comment

Timeline Tuesday … 1930s

Today’s ‘Timeline Tuesday’ takes us through the 1930s – sugar production peaks, Pan-Am Clipper service begins, Hickam Airfield is constructed, ‘Aloha Shirt’ is trademarked and Doris Duke builds Shangri La. We look at what was happening in Hawai‘i during this time period and what else was happening around the rest of the world.

A Comparative Timeline illustrates the events with images and short phrases. This helps us to get a better context on what was happening in Hawai‘i versus the rest of the world. I prepared these a few years ago for a planning project. (Ultimately, they never got used for the project, but I thought they might be on interest to others.)

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Timeline-1930s

May 14, 2014 by Peter T Young Leave a Comment

Ellery Chun’s Gift to Hawaiʻi

Ellery J Chun was born in Honolulu in 1909. He graduated from Punahou School in 1927, then went on to Yale University where he graduated in 1931 with a degree in Economics.

Returning to Honolulu, he was the owner of a Chinatown dry goods shop at 36 North King Street, that he renamed King-Smith Clothiers (the store was named after its location, near the intersection King and Smith Streets.)

With the great depression underway, he looked for ways to increase business; he got the idea to promote a local-style shirt. Using leftover kimono material, he patterned a shirt after the plantation workers’ palaka shirt (short sleeved, un-tucked square bottom.) They had a few dozen made and hung them in the window.

He called them “Aloha Shirts.”

“Since there was no pre-printed Hawaiian fabric around, I took patterned Japanese yukata cloth and had a few dozen short-sleeve, square-bottomed shirts made up for me. I put the shirts in the front window of the store with a sign that said Aloha Shirts.’ They were a novelty item at first, but I could see that they had great potential.” (Chun, 1987 Interview, Star-Bulletin)

They started small, having a few dozen bright printed Hawaiian patterns with hula dancers, palm trees and pineapples. His store became a mecca for a wide range of customers.

In 1936, Chun registered the “Aloha Shirt” trademark.
“It turned out well.”

That year, two firms, Branfleet (the original company was founded in 1936 as a partnership between the Frenchman George Brangier and a Californian, Nat Norfleet; later known as Kahala Sportswear) and the Kamehameha Garment Company, began to shift the focus of the garment industry to a larger and more export-oriented market.

Their products, factory-made sportswear, provided the direction and product line that continues to dominate large segments of the industry today. (Chinen)

A shipping strike in 1936 forced the companies to explore the local island market which brought them renewed success. The years 1936-1939 were big growth years for the garment industry in general and each company typically came out with 15 or more new shirt designs each year.

Paradise of the Pacific published its first photograph of a man wearing an aloha shirt in 1938. Soon thereafter, movie stars took up the fad. By 1940, officials of the Territorial and City and County governments were allowing their employees to wear aloha shirts, at least in warm weather. (Schmitt)

After World War II, a gradual change in aloha wear took place with the breakdown of rigid dress requirements for business attire. The business tie and jacket certainly were not comfortable in Hawaiʻi’s summer climate. In 1946, the Honolulu Chamber of commerce appropriated $1,000 to study aloha shirts and prepare suitable designs for clothing businessmen could wear. (Art of the Aloha Shirt)

In 1947, the Hawaiʻi Chamber of Commerce organized an annual event called Aloha Week, during which office workers were encouraged to shed their suits and wear Alohas to work. In the 1960s, the chamber invented Aloha Fridays, which led to casual Fridays. (Washington Post)

By 1950, however, “screen printing” had emerged, led by companies like Alfred Shaheen and Von Hamm Textiles. This procedure permitted the printing of smaller yardages, expressly for local designers. More important, it permitted brighter and more shaded prints which, from 1947 on, received greater national and international exposure through yearly Aloha Week publicity events. (Chinen)

Up to the middle to late-1950s was considered the Golden Age of aloha shirts. Rayon with smooth finish and Hawaiian prints became the pinnacle of aloha shirts. Complicated eye popping patterns containing all aspects of Hawaiian culture and artifacts were included on the aloha shirts, often referred to as “chop suey” prints because of the mixture of content in the design. (Art of the Aloha Shirt)

The modern era of aloha shirts is considered the 1960s and beyond. In 1962 the Hawaiian Fashion guild staged “Operation Liberation”, giving two aloha shirts to each man in the State House and Senate. The Senate passed a resolution urging the regular wearing of aloha attire from Lei Day, May 1st, and throughout the summer months.

Aloha Friday officially began in 1966, and by the end of the 1960s, the wearing of aloha shirts for business dress any day of the week was accepted. (Art of the Aloha Shirt)

According to Alfred Shaheen, “It (Aloha dress) was really provincial in Hawaiʻi then; the old timers were into formality. They weren’t far from missionaries; in fact, many were descendants of the missionaries so they were still pretty strict and puritanical about things. … So it was a new breed, the younger guys who were ready for a new style.” (Art of the Aloha Shirt)

With aloha dress accepted as every-day wear, Reyn Spooner shirts came on the scene in the early-1960s. Reyn McCullough liked Pat Dorian’s original “reverse” print shirt and started to market it in his Ala Moana Center store. It was a more conservative, “traditional” pullover reverse shirt with a button-down-collar and tails to tuck into slacks. (Tim McCullough)

“Aloha attire is a pan-ethnic expression. What it does is show varied influences coming to Hawai’i. Clothing shows us that all the ethnicities have an impact on what we wear.” (Arthur, UH)

Ellery Chun eventually closed his store and became a bank vice president. He died in 2000; that year, Governor Ben Cayetano proclaimed “The Year of the Aloha Shirt.” (Lots of information here from Aloha Shirts of Hawaiʻi, The Art of the Aloha Shirt and Chinen.)

Chun’s legacy lives on.

The image shows Cover of Life Magazine featured a beaming President Harry Truman wearing an Aloha Shirt-December 10, 1951. In addition, I have included other related images in a folder of like name in the Photos section on my Facebook and Google+ pages.

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