The weather was perfect in Suva on September 2, 1991 as Adi Litia Mara, fifth child of the late former President, Ratu Sir Kamisese Mara walked down the aisle at Sacred Heart Cathedral to the collective gasps of amazement from onlookers.
What captivated many was the stunning bridal gown that she had on.
“What she wore, up to that moment, had been a well-kept mystery and just about took everyone’s breath away,” read an excerpt from The Fiji Times of September 2, 1991.
This was a moment that announced the arrival of masi as a traditional fabric that could be incorporated into modern-day requirement.
Suddenly fashionistas awoke to the fact that their very own traditional bark cloth had much potential in their area of expertise – but this was a fabric that had been in use in Fiji for years.
Regarded as the “Cloth of the gods”, this highly prized bark-cloth, known locally as masi, had been in use in Fiji and the Pacific region for eons.
According to Wikipedia masi refers to the (bark of the) dye-fig (Ficus tinctoria), endemic to Oceania, and probably the one originally used to make tapa.
Skilfully fashioned through beating of the bark of the mulberry tree, masi can be found in many Pacific islands and is known popularly as tapa – a word which originated from Tahiti where Captain Cook visited during his historic voyages throughout the region.
Cook in fact was the first European to introduce it to the rest of the world.
In Tonga, tapa is known as gatu while in Samoa, siapo and Hawaii, spoken of as kapa.
In Fiji masi is normally produced in the islands of Moce, Namuka-i-Lau and Nayau in the Lau group as well as Somosomo in Taveuni, Nukubalavu in Savusavu and Vatulele.
According to Adi Niqa Tuvuki, craft development Officer of the Fiji Arts Council, masi is of profound significance in Fiji and is a living heritage.
“With masi, it’s basically been a part of Fijian culture and tradition for as long as one can recall. It’s been there from the times of old,” said Adi Tuvuki.
“For anything to do with Fijian customs and functions, masi is always used.”
Adi Tuvuki said masi motifs in Fiji were distinct and indicated where it originated from and often told a story.
“The looks and texture of various masi is different, like the masi from Vatulele which has a more rough texture compared to say, masi from Lau,” she explained.
Interestingly, Vatulele, she said, was one place in Fiji where masi motifs only emerged as recently as 1948 and prior to that, the island was known for producing plain but very fine white and brown lengths of the bark cloth.
Masi from Vatulele has incorporated contemporary designs in recent decades.
Vatulele has a good mulberry tree planting scheme which is vital to maintaining production of masi into the future.
In Fijian tradition, masi kuvui (brown variety) is used to denote chiefly status among the wearers.
The white and black variety of the cloth traditionally is only worn by commoners.
Adi Tuvuki said these days, many were unaware of the significance of masi and the distinctive features of certain types of masi and its relevance to protocols and customs in Fiji.
“For me, being married to someone from Rewa, whenever our high chief, Marama Bale Roko Tui Dreketi (Ro Teimumu Kepu) is at a function, there isn’t a need for anyone else to wear masi kuvui because she is there,” explained Adi Tuvuki.
“Sadly, knowledge of the significance of certain types of masi in Fijian protocol and customs is fast being lost to younger generations,” she lamented.
The demand for masi is incredible at this time of the year, particularly as it is used for decorative purposes during numerous functions.
Masi has also been used in recent decades to adorn traditional Fijian marriage apparel as well as birthday suits.
Some masi is adorned alongside magimagi (coconut sinnet rope) and seashells in a style uniquely Pacific.
Nowadays according to Adi Tuvuki, it is used for various things like head and neck scarves, photo frames, tekiteki and even nativity scenes.
With Fiji’s increasing popularity as a wedding location, couples often get married in traditional masi attire, making for a wedding look that is unique around the globe.
Resorts and hotels are slowly embracing the use of masi as part of their bridal package while local designers have also begun incorporating masi into their costumes and creations.
Masi bridal wear can fetch up to FJ$3,000.
The demand for masi is huge with requests streaming in from both locally and overseas.
“Right now, this is pretty much a dry season for masi and there is so much demand coming in from all quarters,” Adi Tuvuki said.
Although there are only 20 women registered with the council as masi makers, Adi Tuvuki estimated that there were at least hundreds of others around the country whose livelihoods are directly reliant on its production and sale.
Black masi is not used in Tonga, although it is characteristic for certain parts of Fiji.
There is also an awareness of the need to preserve and maintain the masi-making techniques.
“We need to maintain its significance and do not take it for granted because this is a living heritage,” said Adi Tuvuki.
Back in 1991 when Adi Litia married Henry Stratford Dugdale, her wedding gown made entirely of masi was created by famous New Zealand designer Annie Bonza.
This masi wedding dress is now on display at the Fiji Museum Contemporary Art section.
Unknowingly, Adi Litia sparked a fashion trend in Fiji with her wedding dress and got many designers interested in fusing this chiefly material with western fabric like satin and silk without losing the masi’s mana and cultural and traditional value.
Years later Jean Ragg would go on to win an award for her masi jacket at the Wella Designer of the Year awards.
Since then, many fine creations both bridal and otherwise have been fashioned out of masi.
Local fashion designer Rosi Semisi, a big fan of bark cloth, said up until the late 1990s when Ragg made the fashion statement, no one had dared meddle with the traditional cloth.
“Up until that point, nobody wanted to experiment with masi and because of its traditional significance, nobody wanted to cut it up.
“Later on, a lot more people were then able to make clothes according to their own styles using masi,” she said.
Ms Semisi feels masi can be further explored where it can be made into modern garments used every day.
“It should be experimented on as a natural fibre to be used as a durable textile.”
The Fiji Museum recently hosted a masi-making workshop where women from around Fiji converged to showcase their skills.
Selai Buasala, 54, of Moce in Lau was one of a handful of women who made a living out of masi.
“I learned to make masi from a very young age but stopped after I got married.
However after a few years I started making masi again and I have not stopped ever since,” said Mrs Buasala.
“I have been able to put my children through school and look after the needs of my family with the earnings I make from masi.”‘
“Making masi is my main and only source of income and this keeps my family going,” said the craftswoman who creates her wares at her home in a settlement in Kinoya, Nasinu.
Others like her were given useful tips by Natasha Trenear, a Perth, Australia-based tapa conservation specialist.
Trenear, who was recruited to teach Fiji masi creators proper ways of repairing and storing masi, was particularly intrigued by the material while working on a collection at the Smithsonian Museum in the United States earlier this year.
She was fascinated by the collection of masi taken by the crew of USS Vincennes during the famous Wilkes Expedition of the South Pacific of the 1840s.
“It is a beautiful art form and personally I just love it. In fact people all over the world are collecting masi,” said Treneur.
The masi conservation specialist has been teaching masi makers to use Japanese wheat starch to mend torn and broken pieces while also improving ways of storage.
“I’ve shown them how to roll the masi instead of folding them – the folds weaken the fibres which lead to tears,” she said.
Masi will continue to play an important role in traditional and customary practices in Fiji.
More than that though, masi is also making inroads as a fabric that can be used in everyday life.
Notwithstanding, the “Cloth of the gods” will continue to feature in the cultural and social aspects of Fijian society into the future.
