There is reverence at the heart of Daīna Hugh. Created by Lavinia ‘Ilolahia, previously known for co-founding slow fashion label Layplan, the brand is a study of silhouette through a Polynesian lens, guided by traditional gestures of wrapping, layering, and shaping the body through cloth. Conceived as a love letter to her grandmother, each piece strikes a thoughtful balance between tradition and modernity, taking shape through contemporary tailoring, sculpted textiles, and hand-worked details.
Growing up surrounded by people who were naturally skilled with their hands — including an aunty who introduced her to the foundations of pattern-making and sewing at a young age — a move into fashion design felt inevitable. That familial foundation runs through ‘Heart in Her Hands’, a debut collection shaped by the memory of her grandmother tending the land — both in the ‘uta of Tonga and later in her urban backyard in Aotearoa.
“Everything she touched flourished and bore fruit,” ‘Ilolahia recalls. It was this contrast of island versus urban, traditional versus modern that drew her to the ta’ovala and its meaning in Tongan culture. “I was drawn to the way it wraps and shapes the body and how, in a contemporary Western context, it’s worn over completed outfits,” she says.
Each look in the collection is a deconstructed interpretation of this traditional garment. Fabrics were selected to echo the ta’ovala’s structural integrity, while the waistband of the Bermuda-style Yovi shorts “wraps and binds the body” in a style reminiscent of the kafa (a woven rope that secures the ta’ovala when worn). On the Lui blazer, hand-stitched mohair tassels nod to both Tongan identity and her grandmother’s spirit. “Every piece carries a subtle interpretation of identity woven throughout,” ‘Ilolahia says.
Referencing and honouring tradition for ‘Ilolahia goes far deeper than aesthetic. “I start with what I know,” she says, describing herself as part of a generation reconnecting with her culture. Innovation, she explains, only extends as far as her understanding allows. Her work begins with silhouette, drawing on Polynesian ideas of shape and form, before being reshaped through a contemporary lens. Conscious of what is tapu (forbidden), she remains in conversation with others who hold knowledge of Tongan history, ensuring each reinterpretation is appropriate. “The more I learn, the more confidence and clarity I have in how I create.”
Daīna Hugh operates on a made-to-order model, working primarily with end-of-line fabrics and producing in small runs. This deliberate choice prioritises longevity over volume. “Having boundaries and a clear purpose has strengthened my creative process,” ‘Ilolahia says. “Designing fewer, better pieces leaves no room for excess so every silhouette, fabric, and construction detail is carefully weighed up against awe, longevity, and quality before production.”
Though still in its early days, Daīna Hugh is quietly making waves in the industry. One collection has already laid its foundation, two stockists now support its small-run model, and an ultimate goal of opening a showroom by the end of the year is within reach. Growth for ‘Ilolahia is measured rather than rushed. Rooted in culture and guided by intention, Daīna Hugh is building not just a brand, but a legacy.
