The Pacific Sisters are a unique art collective that work across, performance, music, fashion, and film. They reached an important milestone in 2018 when a major retrospective of their work over the last 26 years was held at the Museum of New Zealand Te Papa Tongarewa and opened by Prime Minister Jacinda Ardern. Members of the group are important artists in their respective fields and their work over the past decades has immense cultural value for the Tāmaki Makaurau / Auckland region and has made wide impact nationally and internationally.

Supa Suga

'Supa Suga' is here to save the day using her powers to help us realise our full potential, encouraging the best from humanity to help make the world a better place. She believes in the truth, being kind, being generous, and in being supa-fabulous, to inspire us all to be ourselves. She is courageous, confident, and colourful, is part Wonder Women, and part Superman, and all girl power. Ultimately, Supa Suga encourages you to take responsibility for your own actions, so you may find your own superpowers and be able to help others too.

'Super Suga', is one of three new aitu / avatar along with 'Mururoa' and 'Tohu Tūpuna' that embody the kaupapa / philosophy of Pacific Sisters’ fashion activist works. Made by many hands, the collective has combined techniques and materials to adorn and bring life to the lyrics of three iconic waiata / pese / imene / songs written and sung by Sister Henry Ah-Foo Taripo."

The three aitu encapsulate longstanding and fundamental messages that are important to Pacific Sisters; of protecting the environment, indigenous sovereignty, having freedom of self-expression and encouraging the best from humanity, to be your own superhero.

Layers of handmade natural and industrial *accessification adorn each aitu and help to illustrate and express the concepts behind each waiata."

*Pacific Sisters term for adorning with accessories to excess (“more is more”).

Following information provided by Pacific Sisters:

“List of individual taonga measina and makers: Feeonaa Clifton, Ani O’Neill, Rosanna Raymond, Ema Lyon, Ruth Woodbury and Suzanne Tamaki.

‘Looking Out For You, Speaking Up For You’, acrylic wool, plastic raffia, mirror plastic: Ani O’Neill and Suzanne Tamaki, 2018.

Whakapapa: Crocheted especially in blue and yellow yarn to match Supa Suga’s suit. The mirror eyes come from the sunglasses that are also used to make the earrings and reflect the woven-crocheted basket mask that was made by Suzanne Tamaki for Kaitiaki with a K (2018).

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‘Earring Aids’, plastic and metal earring hooks: Suzanne Tamaki, 2018.

Whakapapa: Upcycling everyday common objects into adornment.

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‘Polyglam Pearl Power’ Choker, wax cord, plastic bead, pearl shell button and faux pearl: Feeonaa Clifton, 2016.

Whakapapa: From Feeonaa’s Polyglam Series.

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‘Ula o Aroha (Love) / Ula o Pono (Truth) / Ula o Manaakitanga (Care & Kindness) / Ula o Ātaahuatanga (Fabulousness)’, satin nylon cord, mother of pearl or paua shell buttons, NZ wheel shells (Zethalia zelandica): Ani O’Neill, Ema Lyon, Rosanna Raymond and Suzanne Tamaki, 2018.

Whakapapa: Vintage buttons koha from Rosanna Raymond’s personal collection. Don’t mess with Super Suga -among her superpowers are Love/Truth/Care & kindness/Fabulousness.

2018.75.3.23 - .26

‘Supa Suga Skin’, lycra, sequins: Found suit, embellished by Suzanne Tamaki circa. 1996.

Whakapapa: Sourced from a second-hand shop in Samoa. A set of these were found and worn in a section of the Pacific Sisters’ Fashion Show: Motu Tangata at the Tusitala Hotel, Apia. (Tala Measina; 7th Festival of Pacific Arts 1996).

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‘Dreams Cape’, printed polyester vintage fabric, plastic raffia, fabric covered buttons: Ani O’Neill, 2018.

Whakapapa: vintage fabric, re-purposed from an old dress (circa 1960’s), from the collection of Feeonaa Clifton. Bought in the 1990’s

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‘Attempt to Harness the Ha’, fishing line, up-cycled plastic beads: Ruth Woodbury, 2018.

Whakapapa: First ever Pacific Sisters Waistcoat styled for the future prosperities. The awesomeness of Supa Suga can’t be contained but can be harnessed!

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‘Putiputi Power’, floral Vinyl, plastic domes, satin nylon cord: Ema Lyon, 2018.

Whakapapa: Up-cycled floral vinyl -Supa Suga has all the flower power of our Kuia/Mama’s at her fingertips.

2018.75.3.5 - .6

‘Ka-Powa! Flower P’Nunk Fluffies’, plastic raffia: Rosanna Raymond, 2018.

Whakapapa: This technique is widely used for the dancing skirts all over the Moana, according to Te Rangihiroa page 253 Material Culture of Samoa -the name of the ‘kilt’ is based from what it is made from and the technique used. If the cord is plaited (which it commonly wasn’t) to hold the fibres is plaited fili is used…the method of attaching the fibre to the cord is called fatu…so what would be commonly known as a ‘hula skirt’ made with this technique would be called a titi fatu or a titi fili depending on the technique used. (I personally call the fluffies I make with plastic titi plastiki if it is a skirt or for the waist…tapulima plastiki…for the wrist).

2018.75.3.7 - .8

‘Don’t Waist My Time - Or Yours!’, plastic raffia: Ani O’Neill, 2018.

Whakapapa: Made as a top layer decorative titi, fringe belt to emphasise female hip movement during ‘ura / hula. Here, worn high over belly button to protect and shield her gut instincts.

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‘Teke Power’, kiekie dyed with RIT Dye, satin nylon cord, cowrie shell, NZ wheel shell (Zethalia zelandica): Ema Lyon, 1997/2018.

Whakapapa: Maro created as part of the Wahine Wera Armour Collection worn by Ema Lyon & Suzanne Tamaki for the Pacific Sisters performance at the Sydney Biennial in 1997. Repurposed in 2018 for Supa Suga.

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‘Bink Plooming Banties’, printed polyester vintage fabric, fabric covered buttons, chiffon elastic trim: Ani O’Neill, 2018.

Whakapapa: Vintage fabric, re-purposed from an old dress (circa 1960’s), from the collection of Feeonaa Clifton. Bought in the 1990’s.

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‘Garters’, elastic, plastic, shell, thread: Suzanne Tamaki, 2018.

Whakapapa: A Pacific Sisters staple accessory made from elastic and adorned with shells, buttons or seeds.

2018.75.3.13-.16

‘Putiputi Power’, floral Vinyl, plastic domes, satin nylon cord: Ema Lyon, 2018.

Whakapapa: Up-cycled floral vinyl- Supa Suga has all the flower power of our Kuia/Mama’s in her waewae, don’t be a dick cos she kick your butt!

2018.75.3.9 - .10

‘Ka-Powa! Flower P’Nunk Fluffies’, plastic raffia: Rosanna Raymond, 2018.

Whakapapa: This technique is widely used for the dancing skirts all over the Moana, according to Te Rangihiroa page 253 Material Culture of Samoa -the name of the ‘kilt’ is based on what it is made from and the technique used. If the cord is plaited (which it commonly wasn’t) to hold the fibres - it is plaited fili…the method of attaching the fibre to the cord is called fatu..so what would be commonly known as a ‘hula skirt’ made with this technique would be called a titi fatu or a titi fili depending on the technique used. (I personally call the fluffies I make with plastic …titi plastiki if it is a skirt or for the waist...tapuvae plastiki…for the ankle).

2018.75.3.11 - .12

‘J’Handle It’, found rubber jandals (new): Lady Bug Brand; Ani O’Neill, 2018.

Whakapapa: Bought by Ani O’Neill in Rarotonga. These sturdy jandals are the local favourite, imported into the Cook Islands by Tuki’s Pareu.

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‘Bink Plooming Banties’, printed polyester vintage fabric, fabric covered buttons, chiffon elastic trim: Ani O’Neill, 2018.

Whakapapa: Vintage fabric, re-purposed from an old dress (circa 1960’s), from the collection of Feeonaa Clifton. Bought in the 1990’s.

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