Mairātea Mohi (Te Arawa, Te Whanau-a-Apanui) is a writer, editor and publishing associate te reo Māori at Auckland University Press. She’s written lots for Ensemble in the past; explore some of her archive pieces here.

Last week the spring winds blew thousands of people to the tūāpapa of Tūrangawaewae to celebrate the first Koroneihana of the eighth Māori monarch Nga wai hono i te po. One year on from her ascension to the throne, the celebrations were a stirring blend of grief, remembrance and hope for a new era.

Yet amidst the speeches, waiata and ceremony, it was the Queen’s wardrobe that set tongues wagging. The first stirrings of excitement came with the promotional images plastered online: Te Arikinui in a pared-back blazer over a black silk blouse, hair slicked into a sharp no fuss bun.

It was an invitation to us the people and the world. The official caption spoke the language of protocol, the careful words of spokespeople and press teams, but the Queen herself was speaking in a different way. A secret message in power dressing and quiet reverence.

This was merely the amuse-bouche to the full feast of fashion still to come. What followed over five days was a fashion narrative that wove together place, mourning, diplomacy and the dawning light of a new reign.

Day 1 & 2: In Te Pō – The Kawe Mate‍

The coronation began with the kawe mate, a time for whānau to bring the names, photos and memories of those who have passed to Tūrangawaewae and weep openly together. These were days of collective grief, of acknowledging the darkness of te pō before the light.

The wardrobe of Te Arikinui reflected this deep mourning with two days of black ensembles as per Tainui iwi tradition. Here the devil was in the detail: sheer black throw overs, hints of woven bodice details, pointed toe heels and accessories kept to the nearest whisper. It was understated and gave way to the bigger moment of recognising those who have passed.

Te Arikinui was styled by designer and academic Dr Bobby Campbell Luke (Ngāti Ruanui, Taranaki) alongside Dominic Blake (Ngāti Rangi, Kahungunu), who wove references to her own lineage throughout the wardrobe. One clear nod was to her kuia, the sixth Māori Monarch, Dame Te Atairangikaahu, most evident in the bouffant hairstyle Te Arikinui wore on the first day. A sweet, visual homage to her own kawe mate.

This interplay of mourning, symbolism and style exemplifies what can be best called Māori Parlour, an aesthetic rooted in historical Māori portraiture and Victorian sensibilities. Black as a public signifier of grief, sheer fabrics that drift like mist, and veiled silhouettes appear in Dr Luke’s work and across the Māori zeitgeist. Contemporary echoes can be seen in Soldiers Rd portraits and the living canvas of contemporary Māori performance. At this year’s Te Matatini, the Tainui group Mōtai Tangata Rau moved across the stage in white high-collared shirts, tin whistles chiming, bowler hats tilted, parasols slicing the light. All speaking to a larger narrative of history, ceremony and politics.

At Koroneihana, Te Arikinui and her sheer overlays carried dual meaning: firstly referencing Western mourning veiling traditions while evoking the spiritual darkness where ancestors dwell in te pō. The flowy fabrics also suggested the porous boundary between the living and the dead, a reminder that those who have passed remain close, just out of reach. Each garment became a soft, shadowed metaphor, embodying the delicate negotiation of two cultures and two realms.

Later on the first day, Te Arikinui hosted a night-time black-tie reception, bringing together Māori royalty, Tā Pou Temara in his always immaculate attire, Hana Rāwhiti Maipi Clarke, rangatahi extraordinaire and many more Reo Māori exponents.

Te Arikinui maintained the same solemn palette, a quiet reminder that even amidst regal splendour, grief remains sacred. She did introduce a small cape moment however, a nod to royal ceremonies. Think the flowing robes of English monarchs and the weight of responsibility on one's own shoulders.

It was in this moment, amid the elegance and ceremony, that the significance of the cultural choreography became clear: the wardrobe, the gestures and the presence were all part of a carefully staged narrative. We are witnessing a cultural moment at play here, people!

Day 3: Subtle dawn – The Grey Pinstripe

Day three marked a subtle shift from mourning to presence, and nowhere was this more evident than in the grey pinstripe powersuit.

Te Arikinui and her brother Korotangi wore coordinated outfits throughout the week and while darker tones marked the earlier days, the grey signalled a quiet step into the light. Breaking everything up with a white pussybow blouse, its flow juxtaposed the crisp lines of the pantsuit. (Editor's note: Pretty sure this suit was by Karen Walker)

This day was one of diplomacy as Māori RNZ journalist Tuwhenuaroa Natanahira wrote in his article, Koroneihana: Māori ready to do business with other nations directly. Representatives from over 67 nations gathered at Tūrangawaewae, invited to engage with Māori kanohi-ki-te-kanohi. Recognising that the Māori economy is now one of the fastest growing in the country, there is a clear motivation to conduct business without the encumbrance of unhelpful governments, reflecting a ‘can-do’ ethos shared by younger generations who juggle multiple roles and embrace self-determination. AKA hHustle, lmao.

Waikato-Tainui kaikōrero Tukoroirangi Morgan articulated this vision: “Less government, more tino rangatiratanga. Less government, less dependency on the Crown and a greater future for our young and for our babies.” 

While this was also the day that political parties made their way to the marae ātea there was a noticeable absence by one Christopher Luxon, who was in Auckland unveiling the new IKEA store plans, but as Kiingitanga spokesperson Rahui Papa reminded the media, “We’re not pushing anybody away, but we’re not going to force people to come to Koroneihana as well, so it’s really up to them.”

Day 4: Walking a new path – The Navy Waterfall

Today was the big day for Te Arikinui. Her first address to the world since her ascension to the throne. As part of her tight media campaign, us couch watchers were granted to the getting ready photos early in the morning before her address. Armed with the glam team @glambykuini and @amishair, we saw the chaos that goes into getting a queen ready. 

She emerged from Māhinaarangi, the sacred wharenui of Tūrangawaewae, in a royal navy cape sleeve dress. The flowing sleeves mirrored the awa alongside the marae, fluid and grounded, echoing the waters in her name. Parāoa, whale bone, adorned her neck and ears, referencing the whale jaw gifted the day before and her pāpā’s tokotoko. 

It should also be noted the size of these taonga, as it’s against tikanga to kill or hunt whales, parāoa can only be sourced from beached whales. Paired with her kiwi feathered purse it’s a regal flex in resource acquiring. 

Day 5: Into Te Ao Mārama – Celebration and joy!

The final day was alive with kapa haka, festivities and the joy of a new era despite the rain. Creator @na_teatua noted how the natural colours in Te Arikinui’s wardrobe echoed her karanga to kaitiakitanga, reflecting Māoriness in caring for the environment as she highlighted in her inaugural address.

This final day was a herald for the fluidity of tikanga. As Māori adapt and the world becomes more globally minded, a thought about how one fits into this big wide blue and the legacy everyone leaves behind is at the forefront.

Again speaking in the language of fashion, Te Arikinui wore an outfit that combined the modern and traditional influences on New Zealand history. Donning an English made trench coat, an olive green dress by Australian brand Aje, French rain boots, a Deadly Ponies bag and Māori whakārākei/adornment. Short brown leather gloves were also worn with precision, a small but telling nod to protocol and style (see Casey DeSantis’ improper use of opera gloves in the daytime!)

So what does this mean in general?

To be Māori isn’t simply to haka, protest, or wave a flag, as our Kuini reminded us. It is to simply be, to inhabit the world as Māori in everyday actions and responsibilities, a message that resonated from last year’s hui-ā-motu and carried seamlessly into this year’s Koroneihana.

In a highly digitised world where content and commentary are constant and immediate, modern royals navigate a complex landscape of communication. This Koroneihana was not just a ceremonial event but a media moment, live streamed for the nation and amplified through a social media engine posting hourly, if not every half hour.

It is here that media literacy becomes essential. As viewers, we are tasked with reading between the lines, seeking out the kura huna, the hidden messages woven into imagery, words and gestures. Te Arikinui speaks a softer language through her wardrobe and her gestures speaking simultaneously to tradition, modernity, authority and humility, grief and most importantly, hope.

Ultimately, this Koroneihana reminds us that being Māori is an active, living practice. It is a blend of history, presence and vision for the future. To many more Koroneihana!