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Letter from Hawaii
It's noon, mid-February in the Royal Hawaiian Hotel on Waikiki Beach. The sky is hazy and humid, and also the clouds intermittently drizzle a noncommittal rain on the determined sunbathers below. It is not an auspicious day for that debut of the spring/summer type of CocoLulu, japan teen clothing company which has chosen the Royal Hawaiian for its fashion show.
A runway has been set up in your accommodation courtyard, steps from the beach, and a passel of lithe Japanese models is gamely maneuvering the catwalk. system; the music manufactured beat is designed to send dancers into late-night frenzies, but on this languid Sunday morning it simply grates. system, an invisible announcer gushes in rapid Japanese before offering a terse English translation. about a weight date such as this? she queries, the implicit question mark obliterated by her translation. Two models walk on the runway in headache-inducing outfits. One girl trips along in neon-green platform shoes a minimum of 4 inches high, wearing skintight, candy-colored vinyl pants having a matching vinyl coat. The other wears hot pants (a strange choice for to start dating ? in Japan, but hey, that fashion). Inside a nod towards the ganguro girl look very popular in Japan, their hair is peroxided to some strange brownish-orange hue and coaxed into waves with hairspray, and they both sport fake tans, to ensure that their skin is identical odd hue of the hair. Girls get through to the end of the runway and vamp, enormous smiles plastered across their faces.
CocoLulu is the Japanese same as Wet Seal; in Asia, it a well known fashion label and shop that sells cheap and trendy clothes for teenagers. CocoLulu itsy-bitsy pants and wee tube tops are cut way too small for your average American booty,[url=http://peutereyjacketsuppliers.webmium.com/][b]Peuterey Jacket men[/b][/url], however the line does boast one store in the usa here in Honolulu.
Honolulu, in the end, takes just as much from Asia as it does from America, and gives back to both. and Japan, the city has a transient population that comes from both countries and includes a many native Hawaiians. Roughly another of the 7 million annual visitors are from Japan. Shop signs in Honolulu are as likely to be in Japanese as English, and the presence from the vowel-heavy Hawaiian language (mahalo, haole, malihini) just increases the sensation that this place is not just one place. Instead, it an undestination that conflates the very best and worst of three cultures.
As America sole island state, Hawaii is the unfortunate person receiving our collective tropical fantasies. Tourism may have stripped this city of everything that it once symbolized as a tropical destination, but the Japanese and American tourists who flock here still persist in perceiving it as being the best island getaway. Like a gesture for this, every visitor first Hawaiian purchase will inevitably maintain a hibiscus print, and, as tribute, trendy fashion lines like CocoLulu turn to the islands fluorescent colors and surfer chic and vibrant florals as stylistic inspiration.
But in a feeling, the thought of Honolulu, about the island of Oahu, is much more potent than the actuality. Oahu hosts more tourists than every other island; although islands like Kauai offer more authentically tranquil paradises, it is still Oahu where tourists go first (and, often, exclusively). The wall-to-wall tourist boutiques hawking schlocky tchotchkes dolphin sculptures, T-shirts airbrushed with palms, dancing hula girls for your dashboard cater to the notion that Honolulu is a gateway to some tropical paradise.
Yet the fantasy of island leisure the city and its international tourists hope to evoke is more in regards to a notion stuck in the 1950s than the reality of what Honolulu a bustling modern city of 800,000 is today. It's an exotic vacation destination whose effect on international fashion has unwittingly sent it whirling toward its aesthetic crisis.
Honolulu wasn always a mishmash of international tackiness. Just a few decades ago, it was a very fashionable paradise; and nothing symbolized that more than the Royal Hawaiian Hotel. Built-in 1927, the pink stucco hotel boasts an architectural style that part art deco and part Spanish mission. Once, the palace dominated Waikiki Beach as the glamorous refuge from the famous and rich, where celebrities like Mary Pickford and Douglas Fairbanks carried out their affairs; nowadays, it is dwarfed by a supersize vista of beige high-rise hotels, all wall-to-wall windows and neon logos. Its clientele no more consists of movie stars but of Japanese tourists, honeymooning Midwesterners, senior citizens and businessmen traveling on the company dime.
Today, the Royal Hawaiian presides over only a small strip of Waikiki Beach, its deck bar separated in the sand by only a low concrete wall. Hawaiian postcards conjure up images of vast sunny beaches studded with palms and deserted but for several shapely sunbathers. Waikiki Beach, however, isn't any paradise. It a city beach, simply a thin strip of sand, punctuated intermittently by concrete barriers meant to keep hotel guests from wandering into the enemy territory of neighboring hotels (or, specifically, to discourage them from drinking at other overpriced hotel bars). The Royal Hawaiian continues to be lovely,[url=http://woolrichdeutschlandarcticparka.albirank.net/][b]http://woolrichdeutschlandarcticparka.albirank.net/[/b][/url], however it difficult to believe you within an exotic paradise when you are able hear the music in the hotel bar next door.
Honolulu could be the capital of Hawaii,[url=http://parajumpersoutletjackets.webmium.com/][b]parajumpers jackets[/b][/url], but it is a town which has no cool. It is packed with high-fashion boutiques Prada, Fendi, Chanel,[url=http://peutereyjacketsuppliers.webmium.com/][b]Peuterey outlet[/b][/url], Gucci, etc. that cater primarily to Japanese tourists frantically spending their suddenly valuable yen. (The American tourists seem to prefer shopping in the themed tourist boutiques nearby.) Yet Honolulu boasts no Wallpaper-esque bars where black-clad hipsters sip sidecars, no decent all-night golf equipment, no soign restaurants (which, granted,[url=http://duveticadoudoune.halod.com/][b]Femmes Manteaux Duvetica Soldes[/b][/url], may be the very reason some arrived at Honolulu).
This is the city that designer Philippe Starck forgot. It feels tailor-made for tourists. The neighborhood youth drink in the same musty tiki bars and garish hotel restaurants as the tourists; as one pink-haired, 20-ish Hollywood transplant put it, have to have an in-depth sense of irony to live here.
But despite the apparent uncool of their capital, Hawaii has had an enduring impact on international fashion. For America, it has arrived at represent the familiar exotic. Surfer-girl fashion continues to dominate the closets on most hip teenage girls, and also the retro beach chic of a girl with red-red lipstick and flowers in her own hair is still a pointed reference in resort wear Half a century after Pearl Harbor. Old Navy summer windows are currently full of hibiscus-print surf shorts, floral triangle bikinis and saronglike skirts. BCBG wrap dresses are all about island chic. As well as the hint of the tropics that appears in couture runway collections for instance,[url=http://parajumpersoutletjackets.webmium.com/][b]parajumpers outlet[/b][/url], when Yves Saint Laurent ties orchids towards the necks of his models, or Prada designs skirts in oversize florals that bear an uplifting resemblance to Hawaii aloha prints.
Obviously, Hawaii most visible contributions to international fashion would be the muumuu and also the aloha shirt (the local term for any Hawaiian shirt). The muumuu is unfortunately ugly. When Victorian missionaries arrived within the 1800s,[url=http://duveticadoudoune.halod.com/][b]Doudoune Duvetica Pas Cher[/b][/url], they demanded that the loincloth-wearing local Polynesians cover themselves up like good Christians. The compromise was the muumuu, produced from endless,[url=http://rogerviviershoesshoponline.webmium.com/][b]http://rogerviviershoesshoponline.webmium.com/[/b][/url], shapeless yards of vibrant floral fabric. Although most muumuus nowadays are simply tropical caftans, probably the most egregious are still cut in 1800s patterns rich in necks and lace trim.
For that aloha shirt, it is a post-ironic symbol of tropical island fun throughout America, yanked from the back of the closet for the occasional suburban Nearly every man in the united states owns an aloha shirt, although few possess the audacity to wear it unless a barbecue is involved. But within Hawaii, where every single day is casual Friday and suit sightings are as rare as snow days, the aloha shirt isn't party gear instead, it everyday attire worn for both work and play.
It is de rigueur for each tourist who visits Hawaii to buy an aloha shirt along with a muumuu (or, if not a proper caftan muumuu, at least a shapeless sundress in a bright hibiscus or shell print). The gaudy cotton fabrics indigenous to Hawaii seem to function as a kind of totem to island living: Together with tropical drinks as well as an orchid lei,[url=http://giuseppezanottisneakers.webmium.com/][b]http://giuseppezanottisneakers.webmium.com/[/b][/url], the donning of a newly purchased floral dress is a gesture toward native. Never mind the fact that Honolulu is without all you might keep company with leisurely island living sweeping beaches,[url=http://peutereyjacketsuppliers.webmium.com/][b]http://peutereyjacketsuppliers.webmium.com/[/b][/url], silent vistas, crystal seas and bargain-basement prices.
Sure enough, within the patio bar from the Royal Hawaiian, virtually every tourist is wearing some variation of the aloha uniform. The sunburned hotel patrons sit sipping big fruity cocktails bristling with paper umbrellas and studiously ignoring the style show going on just a few yards away. One woman inside a floral muumuu and oversize sunglasses sits together with her balding, golf-shirted husband, drinking $9 mai tais. He gets as much as take a picture; she holds up the two shocking-blue cocktails, one out of each hand, and screws her face into a grin. she smiles.
It is oddly incongruous with the fashion show taking place nearby, whose audience consists mostly of Japanese kids who appear to have wandered up from the beach. About the runway, one tiny girl trips out in a rainbow-print tube top and a pink head scarf, matched with blue trousers so tight that they wrinkle round her thighs like an earthworm. about some coordinated surfer style? the announcer says brightly, as the girls begin marching on the runway in tiny fluorescent green and pink bikinis, worn with fishing hats and surf shorts.
On Waikiki Beach, several feet away, the swimsuits aren nearly as revealing, nor the bodies as forgiving. Honeymooning Japanese couples frolic within the surf. Girls wear demure skirted bikinis in modest florals and giggle as they back into the water, bottoms facing toward the ocean to ensure that no one about the beach can see their dimpled thighs from behind. Young American women lie facedown and unfasten their bikini tops to avoid unsightly tan lines; from the side, you can see lily-white breasts spilling into the sand. The favored bathing suit accessory is the complimentary orchid lei the Royal Hawaiian gives to guests as they check in. However the thick sweet odor from the orchids is combined with the greater powerful scent of coconut oil, and the flowers are rapidly wilting in the heat.
Honolulu is a perfect illustration of the way in which tourism can kill a paradise. The moment the retirees show up to purchase muumuus for his or her nieces and the first package tours begin loading up buses with Japanese families paying $50 a head to experience an Hawaiian luau, the taste makers flee. Celebrities may still visit, but they remain in the remoter reaches of the islands, not even close to the world of Crazy Shirt shops and plastic leis. The tourists satisfy themselves with a view of the ocean and also the trappings of old Hawaii, even as the locals move farther away from the cities and also the rich and famous proceed to St. Bart
And still the travelers flood in from all over the world, lured by an insatiable tourist industry; the town swells to accommodate them until its main purpose is to sell them the look they found acquire. Honolulu is the ultimate East-West city: The Japanese who come for cheap Gucci and pi coladas discover that they are conveniently catered to in their own language; the Americans, consequently, satisfy themselves with theme restaurants and hula lessons without having to exchange any currency. And never the twain shall meet, except when fighting during the last aloha shirt on the sale rack. Or, perhaps, in the patio bar from the Royal Hawaiian Hotel.
The CocoLulu spring/summer collection concludes together with Japanese kimonos: two girls holding hands and wearing neon orange and green kimonos cinched in and tied having a bow. The models wear platform flip-flops instead of the traditional zori sandals a glance that half traditional Japanese, half vibrant Hawaiian. For the finale, the kimono girls are joined by the swimsuit models: They squeeze into a big group and pose for any photographer, with big, happy, shocked-looking grins ( You going for a photo of me? and demure little waves for the camera, their posteriors arched up and chests pointed down.
The techno is switched off and also the models vanish; in the sudden hush the sound of the waves is once more audible. The tourists in the tables order another round of mai tais and resume staring out in the sea.
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