Copyright © Chanel

Top Gabrielle Chanel, Seen by Karl Lagerfeld, original drawing by Karl Lagerfeld. Above An Imaginary Meeting Between Coco Chanel and Karl Lagerfeld, original drawing by Karl Lagerfeld.

In our round-up of news from ‘The Scene’: as part of Chanel’s celebration of the jacket, the house has released a new video (below) featuring its history, with footage featuring Gabrielle ‘Coco’ Chanel herself.
   Designer Karl Lagerfeld has also released 11 sketches to celebrate the jacket, including illustrations of Gabrielle Chanel and an imaginary encounter between himself and the founder of the house.
   The story picks up in the mid-1950s, when Chanel felt that the style of the time was too restrictive. The jacket was created for women who could wear it during the day with greater freedom and be stylish enough for the evening. The tweed jacket, which became a signature for Chanel, was also born. Style icons soon adopted the look: Brigitte Bardot, Grace Kelly and Romy Schneider sported theirs. Karl Lagerfeld’s arrival in the 1980s saw a revival of the jacket.
   Lagerfeld honoured the jacket with a book, The Little Black Jacket: Chanel’s Classic Revisited by Karl Lagerfeld and Carine Roitfeld, and a series of exhibitions. Milano will play host to the next exhibition opening April 4, with new works (featuring Keira Knightley, Diane Kruger, Carla Bruni and Carole Bouquet), before it moves on to Dubai.
   Meanwhile, last week’s Gucci Private Suite at Ellerslie during the Auckland Racing Club’s race week was the place to be for New Zealand’s largest city. William Yoon, Gucci’s Asia-Pacific president, and Helen Koo, the managing director for Australia and New Zealand, played hosts. Gucci—in line with its own equestrian heritage—sponsored one race, the Gucci Sprint, where a horse named Vogue won. Celebrities included occasional Lucire correspondent Amber Peebles (in Gucci) and her husband Brooke Howard-Smith, Rachel Hunter, Academy Award nominee Keisha Castle-Hughes and Jonathan Morrison, Boh Runga, Clifton Piper, Cameron Ireland, Sandy Nairn, and Michelle Blanchard.

Above National director Evana Patterson, executive producer Nigel Godfrey, and general counsel Jack Yan launch the revamped Miss Universe New Zealand competition in Auckland today.

A new team has been awarded the licence for Miss Universe New Zealand, comprising veteran TV producer Nigel Godfrey, experienced make-up artist and well respected personal trainer Evana Patterson, and Lucire publisher Jack Yan.
   The consortium was awarded the licence earlier this year, and broke the news today.
   ‘The search for Miss Universe New Zealand 2013 will start within a few weeks and we will travel the length and breadth of the country to find the winner,’ says executive producer Nigel Godfrey.
   Registrations are via nextmissnz.com, with a low registration fee of $10. Fifty per cent of the received amount will go to Variety, the Children’s Charity.
   A second stage will see a selected group of entrants head into the regional finals, with those young women heading into a two-day workshop. These will be held up and down New Zealand, where entrants will receive training with professionals in the areas of modelling, TV presentation, make-up and other related areas.
   Godfrey, who first ventured behind the lens in London in 1986 when he worked for the Miss World Group and Thames TV on the international final of Miss World, says television cameras will follow the process.
   As with The X Factor, New Zealand’s Got Talent and Idol, the New Zealand public will have a say in who is going to be Miss Universe New Zealand 2013.
   A red-carpet gala final event is planned for September, with organizers confident that it will be broadcast on television nationally.
   Yan, who serves as general counsel for the consortium, says, ‘We have the perfect team to bring Miss Universe New Zealand in to the 21st century, by applying integrity and transparency to the competition. It’s an exciting time, transforming this competition into something that involves all New Zealanders.’
   ‘Historically, a Miss Universe New Zealand winner became an instant celebrity and we will return that status to the title,’ says national director Evana Patterson. ‘The winner will enjoy a very busy and productive year-long reign working with both Miss Universe and Variety, the Children’s Charity.
   New Zealanders aged between 18 and 27 should visit the official website at www.nextmissnz.com.

Since it’s awards’ season in Hollywood, celebrity hairstylist David Babaii has been hard at work again, this time working on Nicole Kidman.
   At the Producers’ Guild Awards (top), Kidman had a fringe and a half-up, half-down do. Babaii used IT&LY Hairfashion’s eco-friendly, cruelty-free Purity Design Line. He began with blow-drying, with a mixture of IT&LY Pure Water Drops and Pure Fluid Experience. Then, using a medium round brush, he created the soft curls and fringe. He swept the hair to one side for the side part for the fringe, then back-combing the crown and drawing the sides into a pouf at the back. He used the Pure Water Drops for the soft curls at the back and the nape, before finishing with IT&LY Pure Definition Hair Spray for misting.
   At the Screen Actors’ Guild Awards (above), Babaii gave Kidman a straight look. A small amount of IT&LY Pure Water Drops were warmed in his hands before it was applied to her hair. After drying her hair, he used a large, round brush to straighten. He sectioned her hair first, into top, sides and back, first drying the nape area. He created a centre part and finished with the IT&LY Racing Red Professional one-inch digital iron.
   Meanwhile, to those of you following us on RSS, Tiffany Fernando was at BMW’s Ladies’ Press Day and improved her confidence behind the wheel thanks to the experts. You can read about her experiences here. Publisher Jack Yan, meanwhile, interviewed Miss TEEN 2012 Aleisha Robertson (right), one of the first New Zealanders to win an international beauty pageant title in years. Is the tide turning positively for pageants in New Zealand?

Continuing to have its eye on the Chinese markets, Carrera y Carrera has released a series of snake-themed jewellery. Its Serpiente Maxi and Serpienti Mini pendants have been available in time for the lunar New Year. The designs have the Carrera y Carrera matt-shine effect, a voluminous look and sculptural style, says the company.
   As usual for a western company talking up its Chinese connections, Carrera y Carrera talks about the characteristics of people born under the year of the snake (‘Sensitivity, luxury, wisdom and good fortune’) as though they apply across the board.
   The New Zealand Opera will perform Puccini’s Madama Butterfly, in a production created by Kate Cherry, in Auckland’s Aotea Centre on April 18, 20, 24, 26 and 28, and Wellington’s St James Theatre on May 11, 14, 16 and 18. It stars soprano Antoinette Halloran in the title role, tenor Piero Pretti as Pinkerton, and English baritone Peter Savidge as the Sharpless. It will be performed in Italian with English surtitles. Tickets can be booked via the New Zealand Opera box office on 0800 NZ-OPERA, the Edge (for Auckland tickets) at 0800 289-842 or www.buytickets.co.nz, or Ticketek (for Wellington) on 0800 TICKETEK or www.ticketek.co.nz.
   Without warning, Ford Models will close its only Canadian office in Toronto, with its director Cathy Le Drew telling The Toronto Star that it was a decision from its head office in New York. There are 250 models on the Toronto website’s roster. Malin Åkerman (below) had once been represented by the Toronto office.

Garth Badger

Top Bárbara González is the new face of Martini. Above Shoe designer Kathryn Wilson joins forces with Davines in promoting their products.

Spanish Olympic gymnast Bárbara González, 27, from Pamplona, has won Martini’s Royale Casting out of 3,500 applicants and 28 semi-finalists.
   González will appear in Martini’s new advertising campaign for its Italian sparkling wines, breaking in December. She will also receive €150,000, 12 pairs of Christian Louboutin shoes and 12 designer outfits from my-wardrobe.com, and appear in Martini’s 150th anniversary celebrations next year.
   The announcement was made earlier this week at Terrazza Martini in Milano. González will follow in the footsteps of other famous Martini spokeswomen such as Charlize Theron, Naomi Campbell and Monica Bellucci.
   González was chosen as the winner through an online vote as well as an international judging panel comprising Christian Louboutin, my-wardrobe.com founder Sarah Curran, and Martini Global Category Director, Arnaud Meysselle.
   In New Zealand, Davines will join forces with shoe designer Kathryn Wilson. Davines, known for its high-quality, small-run beauty products, says it has ‘common ethical ground’ with Wilson’s boutique shoes. Davines will have a presence at all major Kathryn Wilson events, including in-store gifting, through 2012–13.
   Gossard, meanwhile, has launched its Femme Fatale range with bras, slips and matching suspender belts. Prices start at £14 for the thong, through to £34 for the non-padded bra, and £59 for the slip. The range is now available at Gossard’s website and at selected lingerie retailers.

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The last day of fashion week is always the quietest. However, things went off this year with a hiss and a roar with Phoenix Cosmetics’ Truly Outrageous showcase. This was a make-up show with a difference, with dance, music, theatrics, big drama, bigger hair and even bigger costumes, and jewellery by Claire Hahn.
   This was one which certainly woke and entertained a lethargic crowd who had been spent after the Stolen Girlfriends’ Show after-party. With everything from the ’80s as a reference point, the show opened to break-dancing boys in neon highlighter hoodies of blue, green, pink and orange. ’Fifties candy dresses, tutus made with My Little Pony, a full skirt of Barbie dolls and Flashdance-style models came out in neon leotards and high-shine, Bowie-style make-up. Inspired by Jennifer Grey water-dancing to ‘The Time of My Life’, there was a glitter shower cascading the model. Next came black T-birds and dancers, with exaggerated shoulders of feathers and studs. Models paraded out with studs stuck on to their faces, and clothes heavily embellished with the stuff.
   The stand-out from the section was the Mcqueen-esque model who strode the runway in a black ruffle mullet dress and whose entire head and face was covered in miniature mirrors. This was high-fashion make-up at its best. The best bit, however, was pure nostalgia, with four singers dressed as Jem and the Holograms, having a “battle of the music” with the Misfits. It was fun, colourful and was a bright way to start the day.
   The Miromoda show is always one I await eagerly. This is an opportunity to see the collections of the winning designers in a catwalk context. This year’s theme was polka dots (helped by Marc Jacobs’ collaboration with Yayoi Kusama). Models came out in everything polka-dot, from plastic raincoats to a highlighter yellow polka-dot dress, a polka dot balloon tied to one model’s hair, and a polka-dot blue bikini. Each model spun spotted pois to Justin Timberlake’s ‘Sexy Back’.
   It was a welcome delight and it was nice to see a show celebrating something unique. Everything was of an excellent calibre: it was fresh and edgy. If earlier designers were doing commercially safe collections, this was at the other end of the spectrum.
   Dmonic Intent showcased its second collection for the week: a couture collection with clean lines and moulded wool. Exaggerated shapes were refined and cinched in with obi-style belts. A muted and mature colour palette of greys and charcoal with flashes of red and cobalt showcased the trio’s ability for restraint and the beauty of their cutting skills, proving that they can do crazy antics and high drama as well as refined elegance. Coats were cut beautifully with pagoda shoulders being a key feature. Beautiful hand-blocked felted cloches added allure and mystery to these déco-inspired garments.
   Surface Too Deep, a Wellington swimwear label by Esther Miro and Sarah-Jane Abraham, showed a collection in bright, bold, tropical floral prints in refined and ladylike shapes. High-waisted bikini briefs were cut to flatter and hide tummies while cut-matching bikini tops created old Hollywood glamour. The collection was concise and well presented with models in floral headpieces adding spice and all things nice, and we could dream the day away lounging by the pool in one of the beautiful designs. Stand-outs from the pair’s début at NZFW would have to be the floral one-piece suit, which was cut to flatter with wide shoulder straps and classic lines, and the two-piece ombre orange, navy and fuchsia bikini. Either would work with a lot of women of shapes and sizes. These two definitely know what they are doing and it shows as most of the media in attendance rushed backstage to inspect the pieces up close.
   Christopher Huia Woods’s collection of dresses really impressed me with his eye and talent for editing. A palette of orange and black was crafted into a myriad of dress guises, cut to flatter, coming with frills and ruffles which seemed thought-out and considered. Some had traditional basket-weaving patterns—cool grunge for the MTV generation. What also impressed about his range were the amazing headpieces adorning his models’ hair. Created by talented hairdresser Jamie Dryden, these were true works of art. Hair that was cut and left over from Dryden’s hair salon was washed, bleached, dyed, recycled and fashioned into skulls that had a creepy ethereal beauty, which added to Woods’s collection.
   Other collections of note were from Poto Morgan and Marsha Ranginui Tamihana, who created beautiful garments from harakeke, showcasing their unique abilities to shape and mould the fibre into couture-like shapes. Pia Naera of Pia Boutique showed a collection of mature, elegant digital designs on floaty, elegant, simple shapes and leggings. Aztec tribal elements were fused with intergalactic imagery to create eye-catching, colourful designs. Indigenous designs are truly alive and kicking—and certainly on par with the rest of what the week offers.
   Closing out this year’s Fashion Week was Huffer, with its installation of its in-season summer collection. The brand is well known for party antics, and what better way to end the week and celebrate its new store opening than have a big Mexican-style party? Sangria, margaritas, tequila and sol beer were served to a packed crowd who had come to support the brand. The collection was classic Huffer—cool, easy-to-wear streetwear meets high fashion. Breezy dresses and loose shirts in chambray and a Tex-Mex cactus print featured throughout the collection, while for boys it was all about shorts and Ts and shirts. The team at Huffer also teamed up with famed photographer Mark ‘Cobra Snake’ Hunter to create its summer campaign imagery.
   The collection showed on a small runway lined with cactuses and Mexican memorabilia made out of the label’s key fabrics. Models paraded the runway and lined up tableau-style, each revealing a picture from the campaign. Not much was seen of the show as it was a rather packed, but it was a great excuse for a party to celebrate the new Takapuna store in the newly developed McKenzie’s complex.—Sopheak Seng, Fashion and Beauty Editor

Phoenix







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Miromoda
Dmonic Intent

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Surface Too Deep


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Christopher Huia Woods


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Poto Morgan and Maehe Ranginui

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Monique Lynch

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Hōhepa Thompson

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Pia Boutique

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Above Stolen Girlfriends’ Club’s apocalyptic-themed show took place in an underground car park, with fashion editor Sopheak Seng calling the label’s Dead End collection ‘to date, one of the label’s best’.

Day three of New Zealand Fashion Week brought clean, Quaker-style clothing, a boar’s head reappearance and sublime prints.

Salasai
Opening the day’s proceedings was Kirsha Whitcher’s Salasai label. Clean lines formed the basis of the collection. Country chic was the order of the day with models wearing hay in their low-slung ponytails and ten-gallon hats, but this is not your kitschy cowboy wear: this was subtle fashion for wearing on the farm, designed not to get dirty. A colour palette of oatmeal, cream, burgundy, chambray blue, coffee and navy was injected with pops of butter yellow, mustard and earth reds, bringing the collection to life. There was everything from low-cut double-breasted jackets to biker jackets with contrast sleeves, and pretty dresses and knitwear for the girls. The boys also had their fun with beautiful, chunky, two-tone knits, loosely tailored shirts and low crotch pants.
   The key print for the coming season was a zigzag Aztec print of deep navy, coffee and cream. This appeared in everything from shirts to dresses and even as a full suit for the girls. The print appeared throughout the men’s and women’s ranges. The boys had fun with big checks that came in chambray and wine. Stellar pieces from the collection would be the wine-coloured leather leggings, cut and fitted like a glove, the boxy-and-slouchy jackets, and the shirt dresses, all easy-to-wear pieces which will translate across a wide range of ages and styles. For the boys, it would be the two-tone sleeve jumpers, knitted slouchy style, the check shirts and tailored pants. The collection and label seemed to have matured since its inception, encompassing a much wider audience. It will be interesting to see how the label grows as it is now based in Australia.

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Blak

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Blak showcased a mature collection for its annual showing at NZFW. Entitled The Black Rose, the collection was all about the dark glamour and beauty of this mysterious bloom. Black was the key colour, while cobalt blue and flashes of coral oranges and shades of grey helped to lighten the mood. Sheer and floaty, being a big trend from this week’s shows, were seen on cutaway shirts and floaty dresses. Silhouettes and shapes are relaxed and sporty, as evident in the Ts of fine silks, and the trackies in the signature bleeding floral rose print. The leather and lace combination was another emerging trend from this year’s shows, executed to perfection here in the keyhole-back dresses, while leather played master to jackets and contrast-panel skirts. A grape-purple leopard print added a bit of fun to all the seriousness of the clothing. A well executed and edited show for the young label.

Charlie Brown



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The international designer this year was Charlie Brown. The show’s backdrop featured an open, laughing mouth, reminiscent of the Rolling Stones’ tongue logo, which was somewhat of an imposing force for those that had the unfortunate seats right next to the models’ entrance on to the catwalk. Weird backdrops aside, the collection was patchy and far too long. With 49 exits on the run sheet, this show could be compared to Trelise Cooper’s show from last night. There were beautiful segments to the show, but no overriding theme that could be gauged. There was everything from Chinese-inspired cheongsams and two-piece mandarin collar suits to ostrich-feather gowns and skirts to Gatsby-inspired déco garden party dresses.
   The show opened well to a strong utilitarian vision with camo and leather pieces mixed with metallics in the form of well cut trenches, pants, body con dresses and skirts with exposed zips and hardware running up the back. With models wearing studs and spike on their heads, it was easy to see the correlation between show and collection name. This is possibly where the show began to veer. Next was an Asian-influenced section with bamboo prints and lacquer red dresses cut into cheongsam-style gowns, there also were leopard-print bat-wing dresses and fur coats added to the mix. The final section of the show was quite good with its eveningwear: gowns of jet beaded black decon lines and ostrich feather embellishments on flowing and draped silk chiffons. White, red and black were the key colours for eveningwear.
   The clothes were finished and tailored well, but the show needed a clearer vision and an eye for editing; as it was, it was suited to a private viewing. Designers can blur the lines between what is acceptable on a runway and what makes sense on a retail side. Aside from that it was all very elegant and wearable, and there is definitely a market for it.

Taylor

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Taylor was next. This was not a full winter collection, more a mix of experimental ideas and concepts which will later become the winter collection. Pieces from Taylor’s summer 2012–13 Shadow collection were mixed in. Taylor’s clothes are always well finished and presented; however, this show was a little lost in translation. Black, white and cream dominated, while yellow and bright orange were injected from summer. Textural squiggle lace and silk chiffons were the fabrics of choice for the collection show, and came draped and layered over each other. The opening outfit was the star piece—a zip-off trench in shearling was amazing. Strange sea anemone-like collars of strips of fabrics donned many of the models’ necks, which was rather distracting from the seaming work which goes into a Taylor garment. Pieces from the summer range show that Taylor is truly one of those labels that doesn’t have a fixed season, a seamless transition for the savvy consumer.

Annah Stretton



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Above Annah Stretton’s autumn–winter 2013 collection.

Annah Stretton marked her 20th year in the rag trade. To celebrate, the show was divided into two sections: first, her autumn–winter 2013 collection, secondly, a cabaret style song and dance show of her greatest pieces from Australasian fashion weeks. The ugly boar’s head from the 2004 collection, Feral Beauty, made a reappearance in all its glory, as well as other pieces from the archives. What stood out in the retrospective collection was how far the Annah Stretton label has come: gone are the bits of pieced-together fabrics, attached ropes of pearls and cheap theatrics; in its place is beautiful clothing made for women.
   For her winter collection, entitled I’ve Got a Crush on You, Stretton turned to the post-Depression-era glam of 1940s dance halls, with floaty bias-cut chiffon gowns with cowl necks and fluted sleeves, and prom-style dresses. Florals, lace and polka dots were all shown. These are clothes that are meant to take you away on a journey of romance. Frills spilled forth but in a refined manner, down the front of blouses and cardigans, while circle-cut peplums featured on jackets and coats. Colours of rose, blush, gold, chocolate, deep navy, bottle green, purple and orange made up the core. Strong shoulders and elegant, wide-leg trousers also referenced strong women from the ’40s. Overall a well executed and edited collection.

Below A retrospective of Annah Stretton’s earlier work.

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Stolen Girlfriends’ Club


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You know it is always going to be a party more than a collection whenever you attend a show by the guys from Stolen Girlfriends’ Club. This year’s show was much needed in a week of somewhat sombre shows. Held in a underground car park, the show space was fitting with the collection’s inspiration of an apocalyptic doomsday. Dead End is, to date, one of the label’s best. The show was slick and well executed. Gone was the crazy styling of past years, and in its place was clean and wearable styling that let the clothes do the talking.
   The show started with everyone in the audience switching on their mobile phones to shed light on to the runway as four models walked the extremely long catwalk, dressed in coats and jackets with illuminated linings. A wool turtleneck knit dress opened, showing the label has grown up but not lost its roots. Peplums on leather jackets were key while an embossed crocodile leather jacket was a stand-out for the menswear. Pleather trackies were also quite cool; the material was used extensively in detailing on T-shirt and shirt sleeves. Mesh was given a new twist with a metallic speckle running through, and appeared as a long tube dress for the girls and a slouchy jumper for the boys. The collection also had a very good prints this season (one thing you can always rely on with the label): a dinosaur print was seen on mullet hem dresses, tailored shirts, casual Ts and printed pants; and a double snake print on the tote bags, and the backs of jackets and coats. Black reigned supreme while flashes of yellow, burgundy, chambray and orange added to the mix. It was slightly ’90s grunge, but ever so cool: if there was ever a doomsday you know you will forever look good in these clothes. It was a great night to end the third day of showings.—Sopheak Seng, Fashion and Beauty Editor

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The second day of shows for New Zealand Fashion Week was more jam-packed than the first with a continuation of austere, commercially driven clothing that will sell come winter time.

Twenty-Seven Names and Ingrid Starnes
Twenty-Seven Names and Ingrid Starnes joined forces and showed as a group show off-site this year to help bring the huge cost of showing at NZFW down for each party. The early morning show was a mission but media and buyers were coaxed out with the promise of coffee and breakfast to help cure those late-night work hours. Designers Anjali Stewart and Rachel Easting showed a collection of tried and true styles. The traditional polka dots and heart prints were out in force in a palette of soft sorbet and pastel tones, while a strawberry print was a refreshing sight to see for winter. These helped to break up an otherwise monochromatic colour story of beige, navy, grey and cream. Breton stripes added more textural and print interest to the collection of button-down shirts, flirty shorts, knit jumpers and cute, easy-to-wear dresses. The collection didn’t veer too far from the designers’ past collections but in these recessionary times, it is best to deliver something that will make people part with their money, and the duo have got that covered with their geeky cool chic clothes.
   Ingrid Starnes’ second showing at NZFW was strong and continues to grow the label’s signature handwriting of effortlessly cool, wearable clothes designed for the modern, fashion-conscious women. Hunt’s End was inspired by characters travelling to the great British countryside for a traditional fox hunt, and the fabulous party that ensues afterward. Characters such as Judy Garland and Princess Margaret were a few of the reference points for the collection which showcased a good strong suiting story coming in tweeds, hondstooth and checks. Dresses were also dominant in the collection with ’40s silhouettes still a strong touchstone for the young label. A stand-out was the beautiful cape-sleeve dress that came in a delicious soft grape purple. A dark and traditional autumnal colour palette of rust, brown, olive and deep navy was injected with burnt mustards, powder blues and soft purples. Quirky rope detailing was added to the neckline of dresses or used as decorative brooches. The pussy bow blouses, argyle houndstooth cardigans added to the eccentric Britishness of it all.

New Generation
Dmonic Intent

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   The New Generation show is also a highly anticipated showing of up-and-coming designers from around the country. This year’s four designers selected to showcase at Fashion Week proved that the creative industry is truly alive and kicking. Starting proceedings off on the second group show of the day were the Woodridge sisters of Auckland-based label Dmonic Intent. The brand has had great success in the past through the Miromoda fashion competition, winning them showing time at NZFW for the past two years, putting the designers in great stead for their first official ready-to-wear range. Playing with print and texture of traditional Māori weaving patterns but funked up with neon yellow, fluoro orange, deep purple and navy, the collection showed a strong vision of an independent woman who takes charge. Pants were cut in the sheerest of fabric and billowed like gossamer sails as the model stormed the runway, while a bandage dress with peekaboo slits had a more editorial edge, harking back to the trio’s more experimental edge of their earlier work. A cohesive colour story accented with punches of blood red and cobalt blue (the colour de la saison) livened up the collection.

Silence Was

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   Yujia Wang’s label, Silence Was, has already had quite a following with her quirky but minimalistic take on fashion, and her deft hand at precision-cutting clean, simple lines that flatter the wearer. A slight mod feel to the collection was felt through the clean lines of cute smock dresses and tunics, with subtle keyhole and cut-out details and bracelet sleeve-length dresses. An orange check print added vitality to the collection of muted cream, bone and charcoal greys. Masculine, clean-cut lines featured on great coats of almost teddy-bear-like fur, rearing themselves in the quirky zip-up jumpsuit which you can piece together with a grey blue woollen jumper. Teddy-bear-fur featured as well on many of the collars of garments while the stand-out was the shearling coat.

Daniel K


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   The Daniel K label showcased a beautiful collection of earthy-toned separates which had an organic feel. Easy comfortable clothes, perfect for the coming season. The stand-out print of the collection was a rope detailing with dissecting colours of deep bottle green and navy. Floor-length cardigans were wrapped and draped to encase the wearer while coats were cut in cocoon shapes, adding further to the earth-mother vibe of the show, a commercial collection which has great success if it carries on, along the same vein.

Arielle Mermin




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   Arielle Mermin channelled the late ’70s with her début collection at NZFW. The call of Halston, Bianca Jagger and Studio 54 was evident in the silhouettes of many of the pieces. This collection of great separates and suiting showcased the young designer’s ability for cut and proportion. A bottle-green velveteen trouser was cut with a surgeon’s scalpel and was so on trend with what European designers are doing. The collection threw in some great paisley tribal prints and mixed decades with ’60s-style shift and ’80s shoulders on jackets. It was also effortlessly glam with turtlenecks making a comeback through the burnt orange mustard floor-length knit dress.

Deryn Schmidt


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Fashion’s latest media darling Deryn Schmidt’s solo show did not disappoint one single bit. After débuting last year as part of the New Generation showcase and receiving media attention for her impeccable tailoring skils, Schmidt returned, this time turning up the oomph factor and setting the bar very high in terms of finishing, polish and attention to detail.
   After years of experience in the workrooms of some of New Zealand’s top designers, Schmidt proved that she has taken on board fit as the key factor that makes her stand out from the rest of her peers. Trousers were cut in either a slim or wide leg and gave the models the perfect derrières. Coats were a staple of the show as well: an orange fitted bomber jacket with an elasticated back waistband was easy elegance at its best.
   Her love of fabric and texture was evident in the myriad of prints, velvet, sequins, wool suiting and cashmere on display, none of which was confusing or detracted from the overall feel of the collection. A techno tribal print was a key fabric for the collection, as was the watercolour-like inky blue and mustard print, fashioned into a kimono sleeve kaftan and floaty gossamer skirt. The show hit all the right trends and notes: pant-suits were a strong focus (Schmidt is known for her great pants and, season after season, these are the first things that sell out) while pencil skirts came in tweeds and checks. A rainbow palette of burnt orange, sienna brown, avocado green, turqoise, lilac, and dove greys helped to further tell the story of strong, inspirational women—and this is what these clothes are all about, giving you strength through clothing. Panelling was also a strong feature of the collection and was best used in the final dress fashioned out of chiffon with sequinned trim running down the side. The use of differently aged models further portrayed that the Deryn Schmidt brand can work for anyone of any age and range. This is one versatile and talented designer who will go far, and hopefully this platform will showcase her abilities further to the rest of the public.

The New Zealand Weddings Show
The New Zealand Weddings Show is always an exciting one to see. No expense is spared in the production. The wonderful scent of freesias and lilies filled the room completely as you entered the venue, as garlands of the stuff were strewn along the back wall. There is certainly no recession here when it comes to bridal fashion. Crystals, lace, tiaras, veils and the works were brought out in force for the annual event. And with a packed out venue, it isn’t hard to see why expectant brides come to this event.

John Zimmerman Couture


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   John Zimmerman Couture delivered over-the-top opulence: Cinderella-style ball gowns closed his section of the show while déco, Great Gatsby-inspired numbers were festooned with chez glass and Swarovski crystals to dance the night away for any vintage-inspired bride. And with even bigger headpieces than what was shown at the Royal Wedding, this was couture at its best.

Michelle Yvette, Anna Schimmel, À la Robe


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Above Michelle Yvette.

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Above Vinka Designs.

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Above Anna Schimmel. Below À la Robe.

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   Michelle Yvette’s range of gowns were simply beautiful with their three-dimensional artwork on silk and taffeta; her bone- and cream-coloured gowns were phenomenal. Lace in all its guises is still a big trend in bridal fashion as were handkerchief hems in gossamer silks. Sleeves also appeared new and modern again on gowns as vintage-inspired fashion begins to seep into bridal as shown by Anna Schimmel and À la Robe.

Sera Lilly


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Matthew Beveridge/Matthew Beveridge Photography

   Sera Lilly stole the show, however, with her cute children’s bridal attire for flower girls and page boys. Her bridal range continued the tactile, three-dimensional trend, appearing on a full skirt and bodice.

Crane Brothers



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   Crane Brothers delivered a concise selection for future grooms: everything from morning suits to the classic tuxedo. Grey and black dominated with the trend for textured jackets, with tuxedo pants still being in fashion for the groom. Bright pops of colours were brought through in pocket squares and knitted ties (not just for the office).

Andrea Moore



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Matthew Beveridge/Matthew Beveridge Photography

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Andrea Moore’s collection, entitled The Hunt, was inspired by an equine theme in the country (a very popular theme this season). The collection was impeccably tailored, as you would expect from Moore, and her love of vivid colours came through strongly in her selection of wool coating and suiting. Emerald greens, orange, cobalt blue, Huntsman red, black onyx, purple and black came in a plethora of coat styles, from short, cropped jackets, to blazers and riding coats—all cut tight across the body. They came in solid block colours as well as bright vivid checks and tweeds. A galloping horse print was used extensively in the collection, and featured on everything from printed jeans in emerald and navy to a maxi dress in red and navy. Fox fur was the added touch of luxury, best displayed on the sleeves of a cropped jacket that came in walnut and black. Fur stoles added another dimension to the wintery collection and came in rainbow-bright colours as well.
   The second half of the 45-look show seemed to be a bit disjointed from the first half of the show. Neon pink and fluoro orange polka dot shirts and dresses were thrown into the mix, while tie-dye ombre silk tunics and kaftan style dresses semmed like we were viewing another collection altogether. The show could have benefited from a good edit, removing the second half and giving the audience more of the horse prints and coats in bright colours. A special mention to Michael Beel, creative director for the hair in the show, is deserved: super-high ponytails were fashioned for the model and pulled through military-style riding hats and bandaged up with strapping.

Riddle Me This

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Matthew Beveridge/Matthew Beveridge Photography

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Riddle Me This was an interesting show, with show notes referencing the Big Bang Theory and creation as touchstones. It was an interesting collection of wearable pieces once you edited out all the styling of the show. Sometimes it is often better to try and keep it simple so that consumers can picture themselves buying the product. Stand-outs of the collection were the houndstooth print dresses and pants. Stretch velvet tartan was fashioned into body con dresses and also pencil skirts. It added the luxe dimension to the usual, easy-to-wear casual pieces. A Tex-Mex neo-tribal print was also amazing as well. Key colours from the collection were powder-puff blue, candyfloss pink, and mint green, injected with touches of cherry red and deepest navy and onyx.

Trelise Cooper



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Matthew Beveridge/Matthew Beveridge Photography

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Nikita Brown/Nikita Brown Photography

You are always guaranteed a show when you are invited to Trelise Cooper. Running only about 20 minutes behind schedule, it was pretty tame for the label, which last year was notorious for making guests wait an hour. This year’s first set-up was a back wall of gold foil helium balloons that created an archway for the models. The Cooper collection opened the show and a riot of colour poured onto the runway. Floral digital prints were showcased in acid neon colours while other prints were morphed and transformed into digital floral landscapes. Checks and stripes in muted tones were juxtaposed against all the bright colours. Again it was hard to see what was actually shown from the back of the venue. The balloons were taken away and up popped a screen of illuminating art nouveau swirls and spires. The ‘grandeur of Belle Époque-era glamour’ was a note in the show handouts. Big Edwardian hair and models’ faces covered in tulle with black ostrich feathers added a dark gothic edge. Black-and-white S-bend shapes were shown on the runway before a storm of candyfloss pink and strawberry reds with accents of gold. Bright florals and abstract gothic prints were thrown into the mix as well. This was another collection that could have done with a well edited eye as most of the silhouettes and shapes were repeated numerously and only a handful needed to be.

Kat Gee

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Matthew Beveridge/Matthew Beveridge Photography

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Matthew Beveridge/Matthew Beveridge Photography

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Closing the night’s proceedings was the first solo jewellery show of Kat Gee, of Kagi fame. The show was a mixture of art, dance, live theatre and burlesque. There was stilt-walkers, ballerinas with feathered headdresses and bustles, and dancers in feathers doing mating calls. It was a bit of fun and frivolity on a day where austerity ruled the runway. Birds of paradise was the inspirations with native birds inspiring the collection. The bright vivid colours of the feathers were the go-to for some of the pieces. There were four birds that were featured in the show, especially created by famed director Morag Brownlie.—Sopheak Seng, Fashion & Beauty Editor