Hawaiʻi: A Kingdom Crossing Oceans is a superb exhibition of feathered cloaks, basketry helmets and fans, and intricately patterned bark cloth. It also traces the links between the kingdoms of Hawaiʻi and Britain, which were so strong that the Hawaiʻi flag incorporates the Union Jack.
These links began in the late 18th century, when Kamehameha I (a Hawaiian chief who did not yet rule over the entire archipelago) entered negotiations with British sea captain George Vancouver. Kamehameha wanted British protection; Vancouver wanted sovereignty over the islands. The outcome was somewhat ambiguous, but there seems to have been some sort of alliance between the two nations. Certainly Kamehameha sent George III a scarlet and yellow feathered cloak (the largest in the world) and a letter saying that Vancouver had promised him a small vessel, and that he expected protection if molested by “any of the powers which you are at war with”.
The letter and cloak took two years to reach Britain, and were given to the Prince Regent (later George IV). In return he sent a uniform of a red coat and gold-laced cocked hat. The promised schooner also arrived in 1822, by which time Kamehameha had been succeeded by his son Liholiho. Liholiho decided to visit Britain himself, accompanied by his wife Queen Kamāmalu and a delegation.
After five months at sea, the party landed at Portsmouth on 7 March 1824. Their arrival was unexpected, but they were taken to Osborne’s Hotel in London, and an appointment was scheduled for them to meet George IV on 21 June. In the meantime they had a full schedule of activities, including visits to the theatre, British Museum, Royal Academy, and Epsom races.
Sadly, the visit ended in tragedy. They had been vaccinated against smallpox after arrival, but in June the whole party contracted measles. Everyone recovered except Liholiho and Kamāmalu, who both died in July, aged just 26 and 22, without meeting George IV.
Mea hulu
As well as the feathered cloak (ʻahu ʻula) sent by Kamehameha to George II, there are several others on display in the exhibition. They were garments for Hawaiian chiefs (ali‘i, symbolically descendants of the gods), although they could also be given as gifts.
There are also feathered gods (akua hulu manu), helmets (mahiole), a dance rattle, and garlands.
The supporting structure, or nae, is woven from plant material such as olonā (Touchardia latifolia) or ‘ie‘ie (Freycinetia arborea). Some parts of the cloaks are quite worn, showing the structure beneath, but I couldn’t quite work out the technique from outside the display case.
The feathers were collected by bird catchers (kia manu), who used tall poles smeared with a sticky sap to trap birds. They would pluck a few feathers and then release the birds so their plumage could grow back. However, in some cases, like the dance rattle, entire bird pelts were used.
Fans and bark cloth
Pe‘ahi (fans) were made by weaving coconut fibre with ancestral hair. These materials connected the ancestors to descendants. They were associated with high-status individuals and ali‘i.
The exhibition also includes some great examples of bark cloth (kapa). Made from the inner bark, or bast, of paper mulberry (Broussonetia papyrifera), it was used to make loincloths and skirts. Functional kapa was often plain white, but kapa belonging to ali‘i had more elaborate designs created using bamboo forks (lapa).
Contemporary interpretations
Contemporary Hawaiian artists Lloyd Kumulā‘au Sing and May Haunani Balino-Sing have collaborated with British Museum staff to study works made by their ancestors and carry on their techniques into the future. In 2014 a parasitic fungus was discovered that attacks the endemic ōhi‘a trees that host ie‘ie, a type of vine whose rootlets are used in weaving. So Lloyd and May began using split centre cane when teaching to ensure the continuation of traditional weaving techniques while safeguarding the precious native resource. They still use ie‘ie for sacred or significant creations.
The exhibition includes a mahiole and hat made from ie‘ie and thought to have been collected in Hawaiʻi in the 17th century. Alongside them are similar pieces made from rattan by Lloyd and May.
As they say: “For us basketry is a universal, meditative practice, a form of ancestral knowledge innate in all humanity. We believe that every person is a descendant of a weaver and carries that potential within themselves.”
Hawaiʻi: A Kingdom Crossing Oceans runs at the British Museum until 25 May 2026.
