One weird and wearable festival

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This was published 14 years ago

One weird and wearable festival

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Wellington's World of Wearable Art festival showcases amazing designs that blur the lines between fashion, art and theatre.

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Wellington's World of Wearable Art (WOW) awards are a yearly event that claims to be a unique fusion of fashion, art and theatre in a riotous explosion of entertainment.

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For 10 days in September, more than 35,000 New Zealanders and increasing numbers of international visitors flock to watch designs from around the world compete for more than NZ$100,000 worth of prize money - and be entertained in the process.

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DaVina by Frank Strunk III of the USA.

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WOW now operates with a multi-million dollar budget (organisers won't specify, saying the figure is commercial-in-confidence) and appears to have its pick of New Zealand corporate sponsors.

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Even the global downturn and New Zealand's recession has not dented either its budget or ticket sales, with sales climbing 20 per cent above last year, leading organisers to add another show. All were sold out this year.

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It generates an estimated $10 million for Wellington traders over its ten day run, says WOW's chief executive officer Gabrielle Hervey and uses hundreds of performers and backstage crew.

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Founder Suzie Moncrieff is adamant the event is not about fashion, instead comparing it to the wildly successful Cirque du Soleil. "This is a theatre show supporting design," she says.

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Four years ago WOW moved from Nelson to Wellington - a move which stirred considerable controversy, but was necessary, says WOW's brand manager Donna Ching, in order to ensure the event continued to grow.

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Moncrieff and her team are now concentrating on building the event's international presence.

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Alaskan David Walker won the event's supreme award - including $10,000 prize money - with his incredible Lady of the Wood 18th century ball-gown, made from planks of mahogany, lacewood, maple and cedar.

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International designs made up 55 of the 165 entries this year, and came from India, Hong Kong and United Arab Emirates, among other countries.

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The number of Australian entrants has also steadily increased, attracting a quarter of the competition's entries this year.

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In an effort to establish themselves on the world stage, WOW courts design schools and young students. Moncrieff's sister Heather Palmer, who is competition director, says she has even approached artists from Germany and the Netherlands after she saw their work in international art magazines.

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The eye-popping 'illumination illusion' where the costumes glow neon under fluorescent lights

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Another costume from the 'illumination illusion'.

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The more ornate costumes can involve a of huge amount of work and may (rarely) cost up to $4000, not including the cost of freight for more far-flung entrants.

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Usually, though, the project is a labour of love. One Wellington entrant recycled hundreds of copper radiator parts, hand cleaning them using nail polish.

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New Zealanders Hayley May and Fiona Christie spent months planning their prize winning creation Second Skin, before either sewed a stitch on the 30 metres of fabrics that went into it.

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AM II AM, by Rodney Leong of Auckland.

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Tubular Belle by Ann Skelly.

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Tidal Traveller, by Rita Schrieken.

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American Dream by Sarah Thomas.

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Rock On In The Shadowlands by Janet Bathgate.

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The peculiarly named 'man unleashed' section is given over to male design.

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Behind Closed Doors by Kathryn Preston and Angie Robinson.

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Lagarus Ovatus En Masse by Catherine Anderton.

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Ultra Violent Beauty by Nicola Richardson and Marianne Taviner of the United Kingdom.

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Jaques and The Jelly Fish by Barbara Knight and Sharon Bacchus, Wellington.

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Defend and Serve by Sean J G Hurst.

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My Lively Experience with Death, by Tanmay Gupta of India.

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The World of Wearable Art festival is more theatre than fashion show.