Culture in Design (Design in Culture)

CULTURE DESIGN IN

Taulagi Faamausili

INTRODUCTION

This editorial piece was created to display my learning of what the term ‘design’ means, in relation to culture. Throughout my educational career, I’ve learned and seen what ‘design’ can entail and what it can mean.

Growing up, art and design were always present in my life, but I had never given a second thought to it. I never had imagined that graphic design would be in my life, nor that I would be pursuing it as a career. And so after first learning it, I thought I knew what ‘design’ had referred to. But as I had kept learning from both my peers and my professors, I had realized I was only seeing the surface of ‘design’.

And so with this project and zine, I wanted to reflect back on things in my life. I wanted to look back and see how things have changed once my perspective has changed on ‘design’. And I thought it was perfect to discuss my culture and all the different ways that design is present. As I mentioned, I grew up around design and art, but never truly understanding how those fit as ‘design’. But as I kept learning more about design and about myself and my culture, I’ve realized the impact of both art and design in my life and how that has steered me into pursuing graphic design.

So this zine is, as the title mentions, about design in culture. About what design can look like, especially in Samoan culture, and about what these designs mean to us.

I also hope that through this zine I can inspire Samoan youth that graphic design is a career that they can pursue, and it doesn’t have to look like ‘this’ or ‘that’. I know there aren’t too many Samoan graphic designers, but hopefully this will help push some doors to open, even if it’s only one door.

Design • verb

De·sign | \di-‘zīgn\

: to create, fashion, execute, or construct according to plan : devise, contrive

A. : to conceive and plan out in the mind

B. : to have as a purpose: intend

C. : to devise for a specific function or end

Archaic: to indicate with a distinctive mark, sign, or name

A. : to make a drawing, pattern, or sketch of

B. : to draw the plans for

my definition

Design

De·sign | \di-‘zīgn\

: everything.

So I wanted to include the Merriam-Webster dictionary definitions of both ‘design’ and ‘culture’ to get a ground understanding of what I’m going to be getting into with this. But I also wanted to include my own perspective of how I generally define them as I discuss these terms in the zine.

In terms of design, I look at it as being everything around us. Everything around us was designed in a way that helps with its functionality or was made in an aesthetically pleasing way, or both.

Culture • noun

Cul·ture | \‘k l-ch r\

A. : the customary beliefs, social forms, and material traits of a racial, religious, or social group

Also: the characteristic features of everyday existence (such as diversions or a way of life shared by people in a place or time

B. : the set of shared attitudes, values, goals, and practices that characterizes an institution or organization

my definition

Cul·ture | \‘k l-ch r\

: the things (people, places, things, ideas, etc.) around us that help shape us.

And looking at culture, I defined it as the things around us that help shape us. For this zine, I’m specifically going to talk about ‘ethnic culture’, but I also wanted to bring up the broad definition of ‘culture’. I think looking at culture in its broad definition is beneficial, specifically for this project, because of its overlap with design. Culture is the things that shape us, and design is definitely one of those ‘things’. A concept that I’ll touch in this zine is how designs can influence us and give us a sense of belonging and understanding.

First things first, getting through all the nitty-gritty stuff, AKA the importance of ethnic culture in design, specifically looking at how this looks in Samoan culture. Design, as I define it, is everything around us; and in the sense of ‘ethnic culture’, it is the things that make it up. Which includes the clothes, the traditional items, structures, traditional patterns, etc. All of these are influenced and understood by the culture. For example, traditional Samoan items are shaped the way that they are because those designs were useful and fitting for them in Samoa, even if it may not entirely be of use here in the states.

Which brings me back to my point that the two topics can’t be separated, they’ve worked together since the beginning and will forever continue to work together. Samoan designs cater to the Samoan people. It takes into consideration the culture– the land and how they navigate around and use it (for food), the tropical weather and heat, the religious practices, and the ideals and traditions to just name a few. With those understandings, they were able to work around it and create designs that are of great importance in Samoan culture. Which in turn, makes these designs become such an important aspect in the culture, and it becomes part of the culture itself.

I will also be talking about these designs and what they mean to me as a Samoan person, but also as a Samoan-American and viewing these things in that perspective. I also will talk about how these designs may have changed/altered over time and place and whether that changes the meanings that these designs hold in Samoan culture.

Some designs I’ll touch base on in the zine are: accessories, clothes & ‘ie lavalavas/siapos (cloth), as well as traditional dance attire, and tribal patterns & tataus (tattoos)

JEWELRY

Samoan culture has created a variety of different jewelry, some are created for everyday-wear and others were created for the purpose of being worn during cultural dances. And besides the variety in the types of jewelry, these items are also made from numerous materials that also add to the cultural significance of the jewelry. They were made using resources found locally in Samoa. Some examples of the materials used include: fresh leaves, flowers, seeds, whale’s teeth, and turtle shells to name a few. The materials are very telling of the resources of Samoa, but what also makes these pieces significant is their design. These pieces were created and made to look a certain way that reflects back on the culture.

For this zine I will only be focusing on a few pieces of accessories, specifically the ‘ulafala (pandanus key necklace), ‘ula nifo (teeth necklace), ‘ula lole (candy necklaces), taulima (bracelets/bangle), sei (both the flower and feather piece), and tuiga (head dress).

The ‘ulafala are typically worn by Samoan orator chiefs (tulafale/ matai). During important ceremonies, you’ll usually be able to depict who they are by the fact that they are wearing this ‘ulafala and standing with their to’oto’o (walking canes) – indicating their social status. The ‘ulafala mark the importance of one’s social status.

These are made from the pandanus fruit. Fun fact, the pandanus

‘ulafala (pandanus key necklace) & fue & to’oto’o

fruit kind of looks like a pineapple (fala), which is how this got its name ‘ulafala (pineapple necklace). The seed of the pandanus itself can be seen in a brown-ish color, but when dried and ready to be made into a necklace, it’s typically painted a vibrant red using natural dyes to get that super vivid color.

With this necklace, the design aspect is in the color. The vibrant red is put onto these necklaces to give an emphasis; traditionally, the red also represents nobility. This way everyone is able to tell who the tulafale/matai is and know the statuses of people. With the vibrant red, you really can’t miss them.

But along with the ‘ulafalas, the to’oto’o (staff/cane) and the fue (fly whisk) are also indicators of who is the tulafale/matai. The fue (fly whisk) is made of strands from the coconut husk that are braided and then formed into ropes and are bound to the wooden handle. Some older ones were even made from horse hair. Designs also varied depending on where the lauga (speech) was being given. The shorter stranded fue was used for inside, and the longer stranded fue was used when the lauga was given outside. It rested on his left shoulder, and was swung three times to collect the wisdom in the congregation. The to’oto’o (staff/cane) is a pretty long wooden staff, and the tulafale/matai leaned on it or held it while addressing their audience.

Most of the to’oto’os and fues that I’ve encountered in my life have carvings of traditional Samoan tribal patterns. In the to’oto’os, they’re typically seen at the top of it and on the fue they’re seen on the handle– referring to the symbolism on the Pe’a (which I’ll talk about more in the ‘tatau’ part of the zine). But some of the more traditional ones, they won’t include these carvings. But with the carvings and the traditional tribal patterns, I’ll touch more on later in the zine.

Here, we can obviously see the change of design as time has progressed and we’ve found other resources to create these items with. The to’oto’os and fues had originally been plain and undecorated, but in more recent times they’ve developed these hand carvings on them, representing our heritage and are also a reminder as to who/ what the tulafale are representing. These carvings are a reminder of their status, and what that entails- the voice of our people.

‘ula nifo (tooth/teeth necklace)

The ‘ula nifo, literally translated to ‘teeth necklace’ or ‘teeth necklace’, are very commonly seen in Samoa. These are seen being worn during Samoan cultural performances, and can be worn by anyone performing.

They come in various sizes, both the ‘teeth’ and the size of the necklaces– obviously depending on the person. They can also have various looks and designs. Majority of ‘ula nifos that I know of right now are made out of the tusk of a pig. They’re then sanded down to create a smooth finish. Some are also made with bone pieces,

dark soap seeds threaded in between the white teeth. Depending on

‘Ula loles are probably one of the most well known accessories. The literal translation is “necklace candy”. These can be seen at any celebration with a Samoan (or any islander to be honest) present. Depending on what candy, what material you’re using to keep the candy together, and the overall look of it, they’re pretty easy to make. Majority of the time, people use saran wrap and miniature chocolates and colorful ribbons to hold everything together and make it look pretty. Although some can get really creative, which is always fun. I’ve even seen someone make an entire necklace out of shoes.

Ula loles represent celebration. Families make handfuls to give to the person they’re celebrating to display their love and their support for the person. They also represent such an important part of

‘ula lole (candy leis/candy necklaces)

‘ula nifo (teeth necklace)

Another type of necklace that’s pretty common outside of the Samoan community, are ‘Ula Lipine, or ribbon leis. These are cute and fun, also really easy to make. And these can also get really creative in color and design. It all depends on what you want the outcome to look like! And similarly to the ‘ula loles, they’re a representation of celebration and gift giving.

‘ula lipine

necklace)

Taulima (bracelets)

Taulimas, or bracelets, are very popular. They also come in so many cool designs. They’re typically made of materials like coconut shells, turtle shells, and wood. Sometimes they’ll be painted with vibrant colors and motifs or words. For example, some have paintings of hibiscus’ or other flowers/plants found in Samoa. Other times, there will be words, more typically names, engraved into the taulimas. And some are designed fully enclosed, with an interesting band shape– those are more typically more as armbands during traditional dances.

Sei (hair flowers)

Seis are hair flowers. These come in various colors and sizes, some attached by a bobby pin and others connected to a claw clip. Seis are also typically made out of foam, each ‘petal’ being hand cut and assembled using craft wire and tape. Then to get the various colors and designs, they are airbrushed or painted on there. They can be worn either in your hair, or on the ear. If it’s the latter, make sure you put it on the ‘correct’ side– putting it on your left ear symbolizes you’re single, whereas putting it on your right ear symbolizes you’re taken.

However, there’s another kind of sei, called the ‘(sei) fulumoa’, which are made of feathers and typically worn when performing traditional dances. Typically you’ll see red or white fulumoas when people are dancing, but it’s really up to the people dancing to choose what color they want to use. The feathers are attached, typically, to a bobby pin and are supposed to be worn in your hair.

Tuiga (headdress)

Last accessory I’ll be talking about are the Tuigas, or the headdress. So back then, it was traditionally worn by the matais, the chiefs, and extended to members of certain families– it’s a whole thing, but all that’s needed to know for this context is that the tuigas were associated with the chiefly title. It was strictly reserved to be worn by the chiefs and their taupou, the chief’s daughter, or their manaia, the chief’s son. And worn in war, or during prayer; more commonly, now especially, they’re worn in traditional dances and during important events/ceremonies like the ‘ava ceremony.

Traditionally, the style was composed of 5 parts. The pou, which is the siapo foundation (that I’ll touch more on in the Traditional Dance Attire), the lave (the upright framework), the pale fuiono (shell forehead band), the ‘ie ‘ula (a bunch of red feathers), and the lauulu (human hair, typically of family member[s]). Although nowadays, they’re typically made combined together to form a single piece, instead of having to take time to do it part by part. Though, some designers still do the traditional way to keep the culture alive, but typically now you’ll see that the tuigas are one piece.

And the reasoning for this change in style is because of European interaction. Other materials have also been added to the tuigas because of them. Mirrors for example had become more common to be placed instead of a shell forehead band. And now, the tuiga doesn’t really hold the same symbolism it did back then. Instead of associating it with chiefly ranks, it’s more common to see it as a dance accessory worn by the taupou. Although it still is worn during important ceremonies, it’s just no longer restricted.

Since there are no more restrictions, it allowed for creativity to flow to the design of tuigas. Today, you’ll see the use of beads, mirrors of different shapes, feathers of various colors, synthetic hair/plaited coconut fiber (like in the fue) –in place of ancestral hair.

Some other changes since its beginning, tuigas have made it to other celebrations. I typically have seen it at graduations, I’ve even received some of my own, one for eighth grade promotion and the other from my high school graduation. And for these they’re decorated exclusively with money. I mean, there’ll be other decorations like beads/pearls and feathers, and sometimes mirrors,

but the most prominent thing you’ll be able to see is the money that’s glued all over it.

CLOTHING

For this section, I want to talk about both traditional attire, but also modern attire and how Samoan culture meets these more modern clothes. I also want to touch on traditional dance attire and how that can vary from the traditional clothes. And majority of this will also carry onto the next topic of ie lavalavas and siapos, because of it’s overlap (fabrics are used to make clothing, I know, it’s a shocker).

Puletasi

Puletasis are traditional and formal Samoan attire. They’re worn everywhere, especially to church and special occasions. “Puletasi” is the word more typically used for women’s attire. This usually consists of a skirt– that can be a wrap around or a skirt with an elastic band, and a top. The two can be made from multiple materials, but the overall concept of using materials that have Samoan iconography on it is typical. The styles can also vary– like having a patterned top paired with a solid color matching skirt or a mix of solid color and patterned fabrics. Sometimes, more often seen nowadays, puletasis can refer to dresses made with fabrics that have Samoan iconography.

‘ie lavalava

‘Ie lavalavas are a fabric that are more typically worn, in English I think people call them sarongs. Lots of times people will wear them while doing chores or just doing everyday things. But they’re

also worn to ‘cover up’, it’s more of a respect thing. You’ll often see people wearing them at a place with a bunch of other Samoans. Similar to puletasis, ‘ie lavalavas (99.9% of the time) have Samoan iconography on them. But majority of the time these designs are put on the fabric through a process called ‘elei. ‘Elei is similar to screen printing, but the design is carved on a wood board (traditionally) or a rubber block and is then put under the fabric. Then the paint is spread on top of the fabric.

However, before ‘ie lavalavas were created, it was more common for Samoans to wear ‘ie togas (fine mats) or siapos (tapa cloths).

Siapo

Siapos, or tapa cloths, are a significant part of Samoan culture. They have multiple uses and are very important to the Samoan culture. And before the ‘ie lavalavas were made and used, these were what people wore. They had wrapped these around their waists like an ‘ie lavalava.

An important element with the siapos are the symbols and icons put on to them. Which is where we get our inspiration from for designs of ‘ie lavalavas and fabrics, etc. Which I’ll explain more in the tataus and tribal patterns. But these elements make up the siapo. The siapo is so well known because of its designs and geometrical patterns.

Puletasi with an aloha shirt pairing

Traditional Dance Attire

Traditional dance outfits can be a mix-and-match type of deal. It truly depends on the dancers and what’s available to them and the dance that they’re performing. Lots of times they’ll wear puletasis, typically uniforms. And taupous/manaias wear a ie toga (fine woven mat), along with their tuiga, a taulima, a ‘ula nifo, and a siapo wrapped around their waist.

While traditional clothes like puletasis can be worn as dance attire,

Taupou Ofu Siva (dance clothing)

‘ula nifo (teeth necklace)

‘ie toga (finely woven mat) as ofu siva (dance clothes)

tuiga (headdress)

taulima (armband/bracelet)

titi (feather ‘overskirt’)

**sometimes a titi (kiki) is worn instead of a siapo

Modern Attire

When referring to ‘modern attire’ I mean things like sweaters/hoodies, to t-shirts, sneakers/shoes. A lot of which have adapted Samoan tribal designs and things that reflect on our culture. There’s been a lot of designs that take on these modern/streetwear looks and add Samoan iconography and elements that elevate the design and make them more personal.

And after, I’ll talk about how this relates to tataus and how it fits into how Samoan-Americans identify with themselves and embrace themselves in their culture.

TATAU/TRIBAL DESIGNS

Tataus (tattoos) and tribal designs are the most recognizable Samoan designs. They are literally representations of our culture and tell the story of our people. In this section I will be talking about the importance of tatau and tribal designs and also explain what some of the icons mean.

Tatau

Fun fact, the word ‘tattoo’ comes from the Samoan word ‘tatau’, which means “to mark”. It’s said that the word originates from the sound of the tool tapping during the tattooing.

The tatau is so interesting because they symbolize the pride that the Samoan people have. Samoans are very prideful in their culture and the tatau is a way for people to wear their ‘heart on their sleeve’ so to say. Some tataus are more sacred than others and should not be taken lightly when thinking of getting one. These include the Pe’a (male tatau) and the Malu (female tatau). The tataus are also interesting because they’re done using the traditional tatau tools, even to this day.

Pe’a

The Pe’a is an important part of the Samoan culture. Those who get a Pe’a are typically of high status, more often matais (chiefs). When they wear an ‘ie lavalava, or ‘ie faitaga, their Pe’a can be easily

seen. All Pe’as are typically of the same overall shape and are easily recognizable, but the individual design with the tribal patterns vary depending on the person receiving it, as well as the tatau artist giving them the tatau. They reflect back on the person and their village and their history.

The Pe’a, as seen from the backside of a man, goes from the mid-back down to the knees

The Malu, as seen on the back of a woman’s legs, goes from the tops of the thighs down to below the knees

Malu

The Malu, similar to the Pe’a, is an important part of Samoan culture. And like the Pe’a, they are typically reserved for those of high status, daughters of matais or the taupou typically. They also have similar distinctions, they all have a typical placement– on the thighs and down to the knees, and have similar overall shapes. However, like the Pe’a, the Malu have individual differences that depend on the person getting the tatau, but also the tatau artist.

These are the most important tataus because they hold so much responsibility. By getting one, you’re representing your family and your village. Both the Pe’a and the Malu show you are serving and protecting your family. So in any event of family gatherings, such as weddings and funerals (where the important traditional ceremonies take place), those with a Pe’a and Malu are usually expected to be there and help where necessary– because this is what they had signed up for. The tataus are not to be taken lightly because of that. There’s so many expectations behind them. But they’re also not to be taken lightly because of the pain and amount of blood loss that comes from getting the tatau. Again, some things people want to think about before considering getting one.

And a lot of people had thought hard about it. So, when Samoans had started to migrate to other places, the thought of wanting a tattoo that wasn’t a Pe’a or a Malu had started to rise. Which is how the taulima (armband tattoo) came to be, and I’m assuming the same for the tauvae (ankle band tattoo). People had wanted to show pride in their heritage and culture in other forms of tattoo, and thus the popularity of the taulima and tauvae came to be. And ultimately how the sleeves full of Polynesian/Samoan tribal came to be. One of the most popular ones being Dwayne “The Rock” Johnson’s own sleeve. Lots of people believe that once he showed up on television, displaying his tattoos, was when a boom of popularity came to the idea of sleeve tattoos.

Tribal Design

Of course, I can’t talk about the tataus/tattoos without mentioning the tribal designs that make them up. These tribal designs are so ingrained into Samoan history and culture and are mixed and matched to create different stories. They show up on our bodies, on our clothings, both traditional and modern, on our handbags, literally anywhere. The Samoan tribal are a part of us and it makes sense for it to be represented in everything that deeply affects us. The tribal are a reflection of the culture around us– so motifs of nature are reflected a lot in our designs. We also use a lot of geometrical designs as well in our tribal designs. Do note though, that a lot of the tribal designs can simply just be for decoration and about being prideful in the culture and heritage.

For this section, I’ll write out a ‘glossary’ of what some of the Samoan tribal designs can look like and what they mean.

FA’AGOGO (Frigate Bird)

• symbol of navigation and guidance

• the gogo is known to always return home to land

FA’A’ATUALOA (Centipede/Millipede)

• symbol of strength because it’s poisonous and will hurt you

• known to care for its extended family

• about commitment to family

‘ANUFE (Caterpillar)

• refers to patience

• also a symbol of a new life, or new beginnings

FA’AVAE’ALI (Feet of the wooden ‘ali head rest)

• legs of the headrest support the head

• relates to supporting the head of your aiga (family) or village

• relates to the structure in Samoan society and our roles within that

FA’A’ALU’ALU (Jellyfish)

• symbol of femininity and feminine strength

• relates to how jellyfish is soft but also poisonous

• symbol of underlying strength

MALU (Female symbol)

• what the whole tatau is named after

• means to protect or shelter

• has connotations of protection, for both the person and the female role within the family to protect or shelter the aiga, but also the gafa and the knowledge and what’s passed on to the next generation

‘AVEAU (Starfish)

• represents guidance and intelligence

• can also represent infinite love, this is reflected in how Samoan culture shows giving love and respect for those around us

MULI’ALI’AO (Pointed end of shellfish)

• similar to the ‘aveau

• also represent renewal, as the starfish can regenerate their limbs

UPENGA (Net)

• symbol for prosperity

• also symbolizes cooperation, community, and tradition

TALALAUPAONGO (Thorned edge of pandanus leaf)

• an important icon, as the pandanus is an important fruit in Samoa

• symbolizes tradition, ancestors, union with nature, and prosperity

FETU (Star)

• symbolizes wisdom

‘ASO (Rafters)

• lines that support the structure of Samoan tataus, like how rafters do for houses

• represent tradition and support, relating to the family and its origins

PLANTS (Coconut palms, leaves etc.)

• peace, good vibrations

• also related to prosperity, community, origins, and descent

MANU (Two Birds)

• often get mistaken for flowers, but are actually a combination of cross-flying birds

• represent the union of two families and the success that comes from uniting

PO (Darkness)

• symbolizes the importance of balance that is taught in various Polynesian countries

PU (Seashell)

• symbol of prosperity and abundance

• in Samoan tatau, they testify the status and social position of the person getting the tatau (especially matais with the Pe’a)

KALO (Taro)

• symbolizes the close/immediate family

• can also symbolize the ancestors and extended families embracing the close/immediate family and supporting them

I’A (Fish)

• symbolize abundance and prosperity, as the fish have been an important resource to the Samoan people

NIFO MALIE (Shark Teeth)

• since sharks are known to be powerful creatures of the sea, in tataus they symbolize strength, protection, and guidance

FA’AULUTAO (Spearhead)

• represents a warrior, but also a fisherman

• can symbolize one’s fighting spirit

VAI (Water)

• can represent change, and also continuity through that change

• can also refer to the importance of the ocean is to the Samoans

MATAU (Hook/Fish Hook)

• represents prosperity and abundance, but also union and reconciliation

Pe’a (flying fox)/pula laiti; refers to the families being sheltered by the 3 main parts of every village: matais, tama’ita’i, and the aumaga

‘aso; the lines that support the structure of the tatau, similar to how rafters support the structure of the house

‘aso e tasi

‘aso laiti; refers to person’s mother’s family

tafani tapulu; dedicated to the person’s father’s side

saemutu; represent adventure and accomplishment

va’a (canoe/boat); represents the aiga (family). also serves as a reminder to the person that they are protecting and representing them

pula tele; represent the father and mother’s side of the family. symbolize the extended family caring and supporting the immediate family

pu (seashells); represent the ranking of the person

*note: each Pe’a is different, so this isn’t exact replication. However, the parts labeled are actually part of the structure of the tatau

*MALU MOTIFS

fa’alanuma’aveave; back, outer, and inner thigh parts. back section represents tasks and obligations in the home. the outer thigh refers to her obligations in her community. the inner thigh refer to her duties to the women

fusi; ‘belt’ or band around the top (can also be bottom) of thighs

**fa’avae’ali; support the structure of Samoan society

**malu; symbolizes to protect or shelter

**fa’a’alu’alu; femininity and feminine strength

tali malu; used as decoration, but also represents ranking. wider the area, higher the rank

*note: each Malu is different, so this isn’t exactly like other Malus. But, the overall structure is similar among the tatau.

**note: these symbols were explained earlier in this section

So, this whole section was just me talking about how these items are designed and how they’re put together/look like. Why did I do that you might ask? Well, because the designs and how they look and put together are important. Why? Because they all have a common theme, they all reflect directly back on to the islands of Samoa. Everything that I mentioned was made using the plants and natural things found around Samoa. From the fruits/foods to the plants and animals, they all take part in being displayed in Samoan designs.

Which is why this is so important to understand. Culture and design rely on each other. Design uses culture to create a connection between the people and the designs. And in that same manner, cultures use designs to create connections with people who may not have experienced first hand being part of that culture. Design allows for us to find a community where we may not always see it. And even though social media can play a big part in how we interact with culture, designs can play a huge part in how we insert ourselves with our culture.

There are a lot of Samoans who grew up and live outside of Samoa, some even away from a community of Samoans. Design is one way we are able to connect with one another and feel like we’re a part of something. Through the clothes, both traditional and modern attire, to the tataus/tattoos, both the traditional (Malu and Pe’a) and more modern ones like the sleeves, people are able to feel connected and be prideful in their heritage. Sometimes, people feel as if they can’t be prideful in their culture because they’re not as connected to it as others are and feel excluded. But with designs, people are able to be part of it and take pride in their heritage. Learning about cultures and traditions can be hard, especially if you’re isolated from it, but with designs you’re able to get a basic understanding through the iconography, art, and materials used.

Going back to the topic I briefly mentioned in the modern attire part, I want to talk about the importance of design for culture. For the most part, I explain how design is used in culture, (through clothing and accessories and icons that reflect our culture and ways of living/ being), but I also want to talk about how important it is to have these designs and be able to create new meanings as time moves on.

Again, these designs are important for the culture and for telling the

stories of our past and where we’ve come from. But they also hold so much significance for those of us who didn’t grow up in Samoa or weren’t raised around Samoan culture. We are able to make connections through these designs.

And I was fortunate enough to live in a state that has a high population of Samoans. I was lucky enough to live in an area where a lot of my close relatives live and be able to interact with them and learn the Samoan ways from my parents/family. I was fortunate enough to live in a place that has a Samoan community. But not everyone can say the same. And that’s why these modern attires and these sleeve tattoos are so important to us. They’re symbolic in that we can outwardly display and proudly show off that we are Samoan.

And it’s such a beautiful thing to see how designs have grown and adapted as time moves on. It’s said that the sleeve tattoos that are very popular among Polynesian youth around the world, were created as a way to get a tatau without making commitments to the Pe’a or the Malu. People who began living outside of Samoa had wanted a way to display their heritage and be prideful in it, and design was a way to do it. Thus the influx of sleeve tattoos, but also the influx of Samoan art on clothes.

Which is why I wanted to write about this. Both design and culture have become large parts of how I identify myself, and I wanted to showcase that. I’ve also learned a lot about myself during my educational career which is also what I wanted to display. Throughout my educational journey, I’ve come to understand the broader aspect of what ‘design’ can entail. And looking back at my own culture and how design is so prominent in my culture and how design and culture can change and adapt over time. I’m now like “oh I can make things like that” and be able to share my culture with more people, which is all I ever wanted growing up.

Representation doesn’t have to be just seeing others who look like me. To me, representation is also having people outside of our culture understand the most basic levels of our culture/tradition and respecting them. People love our islands, but don’t love us enough to be respectful of our heritage and cultural traditions.

And again, I also want this piece of work to mean something out-

side of myself. This piece is meant to also showcase to people like me that design is something worth pursuing or even just looking at deeper. That design is such a broad aspect and that it can look like 5,000 different things in our culture alone. I know there aren’t too many Samoan/Polynesian graphic designers out there in the world, but hopefully this can be a start to change, even if it’s just one more person aside from myself. Because representation matters in everything we do and everywhere we exist.

citations

*Big shoutout to my family especially for answering my many, many questions. It probably made no sense when I was trying to word everything out and think about what I was trying to say, but thanks for being patient with me. And shouts to the internet for answering the other 5000 questions I had.

Clothes

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Tataus Design

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