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Pareo
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A pāreu or pareo is a wraparound skirt worn in Tahiti. The term was originally used only for women's skirts, as men wore a loincloth, called a maro. Nowadays the term is used for any cloth worn wrapped around the body by men and women.
The pareo in Tahitian and pareu in Cook Islands were the first Pacific islands and original creators of the tapa board patterned prints.
Name
[edit]In contemporary Tahitian the garment is called pāreu (singular: te pāreu, plural: te mau pāreu), with the pronunciation of the word with a long a (hold the sound for two beats rather than just one) and the e and u pronounced separately, rather than slurred into a diphthong: [pɑːreu].
It is not clear where the variant pareo comes from. It might be an old dialectic variant or an early explorers' misinterpretation. But both terms were already used in the 19th century (the Dutch geographic magazine De Aarde en haar Volken of 1887 had a few South-seas articles, some of them using pāreu, others pareo). Nowadays, however, pareo can be considered as the English-language form of the word (plural pareos), much less likely subject to mispronunciation.
Styles
[edit]
The Tahitian pāreu are among the most colourful and bright of the Pacific. Originally flower patterns, the hibiscus flowers in particular, or traditional tapa patterns, were printed in bright colours on a cotton sheet of about 90 or 120 cm wide and 180 cm long. Nowadays they are also made in Tahiti itself and dye painting with varying colours is popular as well.
A pāreu can be worn in many ways. Women will usually wrap it around their upper body, covering it from breasts to above the knees. Either they rely on their breasts for it not to slide down, or they may wrap a corner around their shoulder or their neck. In more traditional surroundings the covering of the upper body is less important, but the covering of the thighs is. Then it is worn as a longer skirt. Men wear it as a short skirt, or may even make shorts out of it, especially when fishing or working in the bush where freedom of movement of the legs is needed. But during quiet, cooler nights at home, they may wear it as a long skirt too.
The ends of the pāreu are normally tied in a knot to keep it in place.
See also
[edit]External links
[edit]
Pareo
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Etymology
Origin of the Term
The term "pareo" derives from the Tahitian word pāreu, referring to a rectangular cloth garment worn wrapped around the body.[5] In Tahitian, it is pronounced approximately [pɑːˈreɪ.uː] or [pɑːreu], with the initial syllable elongated.[6] The earliest documented use of the term in English dates to 1769, in the journal of Joseph Banks, the naturalist on James Cook's first voyage to the Pacific, who described Tahitian attire.[7] This spelling variation as "pareo" emerged from phonetic transcriptions by early European visitors and writers, who adapted the Tahitian pronunciation to Latin script, often simplifying the glottal stops and vowel lengths inherent in Polynesian phonology.[7] Although the pareo shares conceptual similarities with the Southeast Asian sarong as a wrapped cloth garment, its terminology remains distinctly rooted in Tahitian and broader Polynesian linguistic traditions.[8]Linguistic Variations
In Polynesian languages, the term for the traditional wraparound garment exhibits variations reflecting regional dialects and cultural contexts. In Tahitian and Cook Islands Māori, it is commonly rendered as "pareu," denoting a rectangular cloth tied around the waist or body, with pronunciation approximating /pa.ˈɾe.u/.[9] This form remains prevalent in both Society Islands and Southern Cook Islands vernaculars, underscoring shared Eastern Polynesian linguistic roots.[5] The Hawaiian equivalent is "pāʻū," which specifically refers to a woman's skirt or sarong, often associated with horseback riding or dance attire, and is distinct in traditional lexicon from broader wrap styles, though used interchangeably with "pareo" in contemporary multicultural settings.[10] In Samoan, a related broader Polynesian garment terminology is "lavalava."[9] The term entered English in the 18th century as "pareu", with the spelling "pareo" (plural "pareos") emerging later, influenced by French colonial spelling conventions in Tahiti, where it appeared as "paréo" in official records following the 1842 protectorate establishment.[7] This orthographic adaptation facilitated its integration into Western fashion and travel literature.[5]History
Traditional Origins in Polynesia
The pareo, known traditionally as pāreu in the Society Islands including Tahiti, emerged as an indigenous garment in Polynesian societies between approximately 1000 and 1500 CE, coinciding with the settlement and cultural development of eastern Polynesia. Recent genetic studies estimate settlement of the Cook Islands around 830 CE and Society Islands (Tahiti) around 1050 CE.[11] This timeline aligns with the voyagers from western Polynesia, such as Samoa and Tonga, who reached Tahiti around 1000 CE and the Cook Islands by about 830 CE, bringing and adapting barkcloth traditions to new island environments.[11] Crafted from locally sourced tapa cloth, the pareo was produced by harvesting the inner bark of trees like paper mulberry (Broussonetia papyrifera, known as aute) or breadfruit (Artocarpus altilis), which was soaked, fermented, and beaten into thin, flexible sheets using wooden mallets.[12][13] In Tahiti and the Cook Islands, this process yielded a durable, non-woven fabric suited to the islands' resources, with techniques varying slightly by island—such as single-layer beating in the Cook Islands for robust wraps.[13] Tapa production was a communal endeavor, often involving women, and reflected the ecological adaptation of Polynesians who relied on these plants for multiple uses beyond clothing.[14] Initially designed as a unisex wrap tied around the waist or body, the pareo provided essential protection against intense tropical sun exposure and insect bites, evolving from simpler loincloths and sashes that were common in earlier Polynesian attire.[15][12] These wraps were practical for daily activities in humid climates, where woven fabrics were impractical, and served both men and women without gender-specific distinctions in their basic form.[15] The pareo's lightweight construction was particularly vital during ancient Polynesian voyaging, enabling navigators to endure extended open-ocean journeys across the Pacific while maintaining mobility and comfort in varying weather.[16] Traditional patterns on the tapa were inspired by island-specific beating and stamping techniques, creating linear motifs or natural designs that enhanced the garment's cultural resonance.[12]Colonial Introduction and Evolution
The introduction of cotton fabric to Polynesia by European traders, explorers, and missionaries in the late 18th century marked a significant shift in pareo production, as it gradually replaced traditional tapa cloth due to cotton's superior durability, ease of washing, and adaptability to tropical climates.[17] Traders and explorers arriving in Tahiti from the 1760s exchanged lightweight printed cotton cloths for local goods, while missionaries from the London Missionary Society, who established a presence from 1797 onward, promoted these fabrics to encourage modesty among Tahitians, often distributing them as part of evangelization efforts.[2] This European-sourced cotton, initially floral-printed and manufactured in places like England and France, was quickly adopted for pareos, transforming the garment from a labor-intensive bark-based wrap into a more practical everyday item.[18] During the French colonization of Tahiti, which solidified in the 1880s following the establishment of a protectorate in 1842 and full colonial status by 1880, the pareo underwent further standardization influenced by administrative and economic demands.[19] Papeete emerged as a commercial center under French rule, where pareos were produced and exported alongside commodities like vanilla and coffee, adapting to global trade networks while serving local needs.[17] In this period, the garment became a staple for church attire, with Tahitians combining cotton pareos—often in modest lengths—with European-style tops to align with Protestant and Catholic missionary expectations for propriety during services.[2] In the 20th century, particularly from the 1930s, pareo design and production evolved with the adoption of machine-printed techniques, enabling vibrant, repeatable patterns that reflected both Polynesian motifs and international influences. Pareu prints influenced Hawaiian aloha shirts from the 1930s and became a popular design style by the 1950s.[2][20] Throughout these changes, traditional tying methods persisted, allowing the pareo to retain its versatile, wrap-around functionality in daily and ceremonial contexts.[17]Design and Materials
Fabrics and Patterns
The pareo traditionally originated from tapa cloth, a non-woven fabric produced by beating the inner bark of trees such as the paper mulberry (Broussonetia papyrifera, known as aute in Tahitian) or the breadfruit tree, which provided a lightweight and durable material suited to Polynesian island environments.[1][21] This bark cloth evolved into the modern pareo through colonial influences, transitioning to woven textiles while retaining cultural motifs.[1] In contemporary production, the primary fabrics for pareos are lightweight cotton, rayon, or silk, typically measuring 90-120 cm in width and 180-200 cm in length to allow versatile wrapping.[22][23] These materials are selected for their breathability and moisture-wicking properties, making them ideal for the humid, tropical climates of Polynesia where air circulation prevents discomfort during daily wear or ceremonies.[1][24] Traditional patterns on pareos draw inspiration from tapa designs, featuring geometric motifs such as interlocking ferns, hibiscus flowers, and stylized ocean waves that symbolize natural elements central to Polynesian life.[1][2] These motifs were historically hand-painted or stamped onto tapa using natural dyes derived from plants, including yellow hues from turmeric (Curcuma longa) or noni (Morinda citrifolia) fruit, red-brown tones from noni bark, and black from charred candlenut (Aleurites moluccanus).[25][21] Contemporary pareo prints expand on these traditions with vibrant, tropical designs that incorporate abstract representations of Polynesian tattoos (tatau), floral batik elements, and bold geometric arrangements, often created through screen printing for mass production or batik techniques for artisanal pieces.[2][26] These modern aesthetics blend cultural symbolism with global fashion influences, using synthetic or natural dyes to achieve lasting, multicolored vibrancy on cotton, rayon, or silk bases.[1]Dimensions and Construction
The pareo is a rectangular garment, typically measuring approximately 1.5 to 2 meters in length and 1 meter in width, enabling it to be wrapped and tied in various configurations around the body.[27][28] Traditionally, its construction involves no sewing, with edges left raw or simply hemmed in versions made from cotton to prevent fraying.[1] This minimalistic approach maintains the fabric's flexibility for everyday wear. In its original form, the pareo was crafted from tapa cloth, produced by harvesting the inner bark of trees such as the paper mulberry, stripping and soaking it, then beating it flat with a wooden tool on an anvil to create a soft, paper-like sheet that could be dyed or decorated.[28] Modern pareos are instead woven from lightweight fabrics like cotton, rayon, or silk and printed with designs, retaining the seamless, reinforcement-free structure for ease of use.[2] Patterns are applied uniformly across these dimensions to suit the wrapping style.Wearing Styles
Traditional Tying Methods
The traditional tying methods for the pareo, known historically as pareu in Tahiti, emphasize simplicity and versatility, relying on the garment's rectangular length of fabric—historically 6 to 10 yards long and about 1 yard wide, allowing for multiple wrappings, while modern versions are typically 2 to 3 yards long and 1 to 2 yards wide—to secure it without additional fasteners.[29] The most common method involves draping the pareo around the waist, wrapping it two or three times for a secure fit, and tucking or tying the end at the side or hip to form a skirt-like garment that hangs below the knees.[29] This waist wrap, observed during European explorations in the late 18th century, allowed for practical mobility in daily activities, with the fabric often rolled upward from the hem to the desired length, such as to the mid-thigh for fieldwork or higher for ease of movement.[29] For a dress-like form, a separate shoulder piece with a hole for the head was tied at the waist, left open at the sides for arm movement.[29] This style, documented in accounts from Tahiti, provides coverage from the shoulders to the knees while leaving one arm free, adapting to the tropical climate and cultural norms of modesty.[29] Knotting techniques generally employ basic knots formed from the fabric edges themselves, such as tying the corners at the hip for a skirt or at the chest for upper-body securing, ensuring an adjustable fit that could be tightened or loosened as needed without tools.[2] These methods, rooted in pre-colonial Polynesian practices and first detailed by explorer James Cook during his 1769 visit to Tahiti, reflect the pareo's role in both everyday labor and more formal occasions, where longer, unrolled drapes signified ceremonial importance compared to shorter, practical ties for agricultural work.[29]Gender-Specific Adaptations
In traditional Polynesian settings, particularly in Tahiti, women have historically been the primary wearers of the pareo as a skirt-like garment, often adapting it for modesty and daily activities. Full-length wraps, extending from the bust to the ankles, were commonly tied tightly around the bust or over one shoulder to create a graceful dress, especially after colonial influences introduced undergarments and missionary dresses for coverage.[1][2] For more active wear, women folded the fabric in half, wound it twice around the hips, and secured it with a knot to form a knee-length skirt, layering it over undergarments for practicality during work or beach outings.[1][30] Men's traditional pareo styles emphasized utility, evolving from pre-colonial loincloths like the maro—a narrow tapa strip wrapped around the waist and between the legs—to more versatile wraps using imported cotton fabrics. Shorter hip wraps, resembling shorts and tied lower on the torso, were favored for labor-intensive tasks in the hot climate, providing ease of movement without knots, simply by folding the fabric over multiple times to secure it.[2][1] Longer versions served as home attire, draped around the hips or over shirts, replacing the traditional maro for comfort during rest or casual settings.[30][1] Cultural norms in Polynesia positioned the pareo as predominantly feminine for skirt styles, with men adopting utilitarian adaptations, though basic knotting techniques from traditional methods allowed flexibility in both genders' applications. Following World War II and into the mid-20th century, particularly post-1950s, the pareo shifted toward unisex usage, with men increasingly wearing it for cultural events like the Heiva i Tahiti alongside women, reflecting broader integration into everyday and ceremonial life.[2][1][31]Cultural Significance
Role in Polynesian Society
In traditional Polynesian communities, the pareo serves as a multifaceted garment essential to daily life, providing practical utility since pre-colonial times. Women and men alike use it as a lightweight wrap for modesty and comfort in the tropical climate, often tied around the waist or shoulders to offer sun protection during outdoor activities. Additionally, its versatility extends to non-clothing functions, such as a light blanket for warmth at night or against cool breezes, a beach towel, or even a makeshift carrier for infants by wrapping it securely around the body. These uses underscore its integration into island routines, from fishing and farming to resting under the shade of breadfruit trees.[1][2][32] Socially, the pareo fosters community participation across various settings in ongoing Polynesian society. It is commonly worn to bustling markets for everyday errands, symbolizing everyday grace and cultural identity, and during family gatherings or traditional ceremonies where its simple tying methods allow for fluid movement. In performing arts, such as ori Tahiti dances, performers don vibrantly patterned pareos tied in specific styles to enhance rhythmic hip movements, as seen in major events like the Heiva i Tahiti festival, which draws thousands annually to celebrate Polynesian heritage. This attire signifies active involvement in communal life, bridging generations through shared traditions.[1][33][34] Economically, the pareo supports artisan networks, particularly through women's cooperatives in Tahiti and surrounding islands, which have sustained local crafts into the 21st century. These groups, numbering over 400 associations with more than 3,700 members by the late 1980s, produce pareos alongside other textiles like tifaifai quilts using traditional techniques adapted to modern cotton or rayon fabrics. By providing income opportunities in rural areas where formal employment is limited—especially for women who comprise the majority of unpaid laborers—the cooperatives enable economic independence and preserve cultural practices amid globalization. Sales through local markets and tourism channels bolster these artisan economies, ensuring the pareo's role as a viable livelihood source.[34][1]Symbolism and Patterns
In Polynesian pareo designs, motifs such as turtles and frangipani flowers draw from broader cultural iconography, including ancient cosmology and navigational traditions. The turtle symbolizes longevity, protection, and navigational prowess in Polynesian heritage, reflecting the seafaring legacy where such creatures were seen as guides.[35] These elements embody stability and family unity, often incorporated into patterns to evoke endurance and prosperity. Similarly, frangipani flowers (plumeria), emblematic of beauty and love, represent hospitality and shelter in Polynesian iconography, their delicate petals signifying grace and the welcoming spirit central to island communities.[36] These floral motifs tie into broader cosmological beliefs, where natural elements like flowers honor life's cycles and ancestral connections to the land and sea. Colors in pareo further amplify these symbolic layers, with selections guided by cultural contexts. Red, derived from natural dyes like those from bark or clay, denotes strength, sacredness, and ancestral lineage.[37] In contrast, black signifies mourning and ties to the underworld.[37] These hues ensure the garment's role in conveying emotional and spiritual narratives. Modern pareo designs increasingly incorporate tattoo-inspired patterns, known as tatau, to honor Polynesian heritage amid historical suppression. During colonial rule in the 18th and 19th centuries, European missionaries and authorities banned tatau practices, viewing them as pagan and enforcing penalties like fines or exile to eradicate indigenous body art.[38] This prohibition extended to textile motifs, diminishing traditional designs until post-1960s independence movements sparked a cultural revival, with artists reclaiming tatau elements in fabrics like pareo to assert identity and resilience.[39] Today, silk pareos feature intricate tatau-derived geometrics and symbols by creators such as Eriki Marchand, blending ancient motifs with contemporary aesthetics to perpetuate Polynesian narratives of ancestry and sovereignty.[40]Global Adoption
Western Fashion Integration
The pareo began gaining popularity in Western fashion during the 1960s and 1970s as part of a broader fascination with tropical and exotic aesthetics, particularly in beachwear and resort collections. Designers drew inspiration from Polynesian motifs in European and American ready-to-wear lines.[41] The 1962 film Mutiny on the Bounty, filmed in Tahiti and featuring Polynesian attire, contributed to interest in island cultures among global audiences.[42][43] During the 1970s and 1980s, the pareo experienced a boom as a resort cover-up, transitioning from casual beach accessory to luxury item. High-end brands like Hermès introduced silk versions with intricate prints, sold in upscale boutiques across Europe and the United States, appealing to affluent travelers seeking effortless elegance.[44] This period saw increased exports of pareo fabrics from Polynesia, driven by rising tourism to the region—partly fueled by Hollywood depictions—which elevated the garment's status in international markets.[45][46] The integration preserved some traditional elements, such as wrapped tying methods and bold, symbolic patterns, while adapting to Western preferences for lightweight, printed silks suitable for leisurewear.[17]Modern Variations and Uses
In contemporary settings, the pareo has evolved into a versatile accessory for beach and travel activities, often serving as a swimsuit cover-up to provide modest coverage and sun protection after swimming.[47] Its lightweight design also makes it ideal as a picnic blanket, easily spread out for outdoor meals or lounging on sand.[47] To enhance functionality, quick-dry synthetic fabrics like polyester were introduced in the 2000s, allowing the pareo to dry rapidly after water exposure while remaining compact for packing.[3] Globally, the pareo has inspired hybrid adaptations, such as pareo-shawls in Indian fashion, where hand-block printed cotton versions function as elegant wraps or scarves for both beach and casual wear.[48] In Australia, eco-friendly bamboo pareos have gained popularity, offering sustainable, breathable alternatives made from renewable fibers and sold through online platforms since the early 2010s.[49] Sustainability trends have led to a revival of organic cotton pareos in Polynesia, emphasizing environmentally friendly materials grown without synthetic pesticides to support local ecosystems.[50] Hand-block printing techniques, drawing on traditional motifs, are increasingly used to produce these items, with promotion by cultural organizations aiding preservation of Polynesian heritage as of 2025. In recent years, pareos have seen renewed interest in sustainable fashion, with collaborations between Polynesian artisans and international brands like Stella McCartney highlighting ethical production as of 2024.[46]References
- https://en.wiktionary.org/wiki/pareo