Newly installed in the Art of the Pacific gallery, this unusually large five-layer kapa moe, or bed cover, belonged to Princess Ka’iulani Cleghorn (1875–1899), heir apparent to the Hawaiian throne at the time of the overthrow of the Hawaiian monarchy in 1893. Princess Ka’iulani was the daughter of Princess Miriam Likelike and Archibald Cleghorn, a prominent Honolulu businessman born in Edinburgh, Scotland.
Barkcloth (Kapa moe), Hawaiian Islands, late 19th century, purchased with funds provided by the Eli and Edythe Broad Foundation with additional funding by Jane and Terry Semel, the David Bohnett Foundation, Camilla Chandler Frost, Gayle and Edward P. Roski and The Ahmanson Foundation
Princess Ka’iulani became known throughout the world for her intelligence, beauty, and resolve when, following the overthrow of the Hawaiian monarchy in 1893, the eighteen-year-old princess spearheaded a campaign to restore the Kingdom, even speaking before the United States Congress and meeting with Presidents Benjamin Harrison and Grover Cleveland. However, her negotiations could not prevent the eventual annexation of Hawaii to the United States in 1898. Following a brief illness, Ka’iulani died on March 6, 1899 at the young age of 23.
Princess Ka'iulani, 1897, Hawaiian State Archives, Photograph Collection, PPWD-15
Kapa fabric is typically made from the paper mulberry tree. The bark is stripped, soaked, and then compressed into sheets with special patterned wooden beaters and finally dyed and decorated. Kapa cloth was used primarily for clothing like the malo worn by men as a loincloth, and the pā’ū, worn by women as a wraparound skirt. The layered Kapa moe were originally reserved for the ali’I, or chiefly class, and the tradition continued into the late nineteenth century with members of the Hawaiian monarchy.
Detail
Like Princess Ka’iulani, this kapa moe combines elements of Hawaiian and European traditions, as the unusual design resembles floral elements from a post-European contact Hawaiian quilt. Designs on both kapa and Hawaiian quilts hold symbolic information. Scholar Adrienne Kaeppler noted that the design of this kapa moe may metaphorically incorporate the saying, “He ali’i ke aloha, he kilohana e pa’a ai,” “Love is like a chief, the best prize to hold fast to,” in honor of Ka’iulani. One corner of an underside white layer of the kapa is signed “Kaiulani.”
Debra McManus, Manager Art Administration and Collections
Unframed The LACMA Blog 
If this is signed, the Princess possibly assisted in the making of this during her childhood. She entered numerous items in fairs and horticultural contests during that time, and kapa are mentioned in the papers as among submissions.
It is a pity, though, that part of the above info is taken from internet sources that contain errors. The Princess did not “spearhead” any “campaign” – her efforts for her people were done “unofficially” (except for one public statement released to the papers) as her Aunt was the official representative of Hawai’i, nor did she ever meet with Benjamin Harrison (she did, briefly, with Cleveland and his wife).
Almost a year later: Apparently no-one at LACMA checks these comments, because the same errors are still in place in regards to the text about Ka’iulani. See above. (It should also be added that she never spoke before Congress.)
I agree with Hali’a. Why have a comments feature if you don’t have someone to check them? You have thousands of scholars in your membership who would love to help you ascertain the correct provenance for each item.