At the same time, across the Pacific, the Miss Pacific Islands Pageant showcases a different yet equally powerful expression of fashion. Here, garments made from bark cloth, pandanus weaving, and intricate shell ornamentation are more than just attire, they are cultural treasures. Each participating nation brings its own unique craftsmanship: Samoa is known for its finely printed siapo (bark cloth) designs; Tonga showcases intricate kiekie and woven ta'ovala mats; the Cook Islands highlight vivid tivaevae quilting; the Solomon Islands feature delicate shell beadwork and natural fibre garments; Kiribati presents striking te ibubu skirts crafted from coconut and pandanus leaves; Nauru incorporates detailed embroidery and weaving; and Papua New Guinea embraces bold bilas, incorporating feathers, beads, and body painting. These designs, rooted in centuries-old techniques, embody sustainability, patience, and respect for nature. Long before the global fashion industry began championing craftsmanship and slow fashion, Pacific designers like Vaito’a Toelupe of Samoa and Salome Kavaliku of Tonga were already living it, creating with purpose and deep cultural significance.

This parallel highlights a crucial truth: while the fashion world increasingly values intentional design and quality craftsmanship, many cultures, like those of the Pacific, have been leading this movement for generations. The conversation should not be about the West "discovering" these values but rather recognising and learning from the longstanding traditions that have defined fashion beyond conventional industry narratives.