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Royal New Zealand Ballet’s Hansel & Gretel: a family ballet where creativity fires on all cylinders

Filed by Jack Yan/November 6, 2019/12.23


Nicola Edmonds




Stephen A’Court


Garth Badger; make-up by Kiekie Stanners

Hansel & Gretel, the Royal New Zealand Ballet’s newest production, answers an important question: what can be made when you have every creative firing on all cylinders?
   Here we have Loughlan Prior (right) with his first full-length ballet, based on the Grimm Brothers’ collected story, with his outstanding vision, wonderful pacing and choreography; Claire Cowan composing an original score that underlines her versatility; and award-winning designer Kate Hawley, an international talent and veteran of blockbuster films whose creativity shone.
   Perhaps it should really be called Gretel & Hansel, for it is Kirby Selchow’s character of Gretel who proves the more resourceful (when Gretel is under the Witch’s spell, Selchow performs an excellent solo), while Hansel, attached to his toy rabbit, is played with childlike wonderment by Shaun James Kelly. The two dancers, who have appeared in countless RNZB productions, have come into their own in this one as leads, and it is stronger for their characterizations. The parents, played by Nadia Yanowsky and Joseph Skelton, have an enchanting pas de deux in the first act, when they realize the dire financial situation they face (broom-selling is a tough gig in the 1920s European town in which the ballet is set), yet the romantic dance demonstrates that their love and faith will see them through.
   This, and other pieces, emphasize that this is a classical ballet, one which is geared perfectly toward family audiences, with a wide appeal.
   Cowan’s newly composed score brings together numerous elements: romantic at times (the aforementioned pas de deux), jazz and Broadway (Act II’s Gingerbread House number with the Witch and gingerbread men), and cinematic (the parents’ emotional search for Gretel and Hansel in Act II). She is the first female composer commissioned to write a full-length score for an RNZB ballet, and one hopes that Cowan’s talents are recognized far more widely than they have been. Cowan helps redress the balance of the few women in her profession, and her work shows that the composing versatility of, say, Aaron Copland, who wrote for ballet and film, is, fortunately, very much still with us.
   Visually, Hawley—whose credits include costumes for Suicide Squad, Edge of Tomorrow for Christopher McQuarrie and Doug Liman, Liman’s Chaos Walking, Guillermo del Toro’s Pacific Rim, and Chris Sanders’ The Call of the Wild—shines here with her designs. The 1920s’ townsfolk and their black-and-white finery (top hats, fox furs) contrast the grey costumes of Hansel and Gretel and their family. In the forest, Hawley has turned the Dew Fairies into flappers, and the Sand Man (played by the tall ballerino Nathan Mennis) channels Buster Keaton with his costume.
   The team brings together numerous references: Méliès’s 1902 science fiction film Le voyage dans la lun is parodied with an ice-cream in place of the spaceship on the moon, working in the food theme; hypnotic circles in the background projection reminded us of pop art and, it must be said, some of Saul Bass’s film work; and the Dew Fairies’ numbers owe a little to Busby Berkeley (not on the same scale) and Million Dollar Mermaid, especially when we saw the Queen of the Dew Fairies, played by Mayu Tanigaito, who executed an impressive sequence of fouettés. The Witch’s transportation is a steampunk bicycle. The Gingerbread House’s components float and join together like an animation; the fact it is like a Tardis—bigger on the inside—is referenced in the notes. The Gingerbread House’s extreme colour (extravagant reds and pinks) and the Witch (Katharine Precourt) had the spectacle of ‘All That Jazz’ in Chicago meets Cabaret. (The ‘Eat Me’ sign is straight Broadway.) When the Witch’s true form is revealed (played by Paul Mathews, who camps it up), it’s out of early horror films. As Prior wrote in his notes, ‘She’s a mash-up: a cabaret performer, Kylie Minogue showgirl meets Leigh Bowery, vampiric Nosferatu.’ Indeed, the gingerbread men, with their hooded costumes, also channelled Bowery.
   There are additionally themes of income inequality—there is no middle class in this story, only the impoverished main family, and the richer city folk and private-school students who taunt Gretel and Hansel; of greed and child abduction, as in the Grimms’ tale; and of love (the original story in the Brothers Grimm’s collection did not have a “wicked stepmother”, and this adaptation follows that). What is not explained is the payoff at the end: a happy ending is what we expect (and we get one—not really a spoiler), but what happens to the Witch’s funds that the gingerbread men, presumably free from the spell that kept them subservient, present to the family?
   Two years of work went into Hansel & Gretel, and it shows. For those wondering where the RNZB would wind up under artistic director Patricia Barker, and the first year with Lester McGrath as executive director, here is your answer. It’s in a fine place when a creative team can stretch its legs like this. If you can remember their 2010 production of The Nutcracker, you’re coming close—but ramp up the originality more. Ryman Healthcare’s sponsorship has helped make it a reality, along with others. It’s a perfect family ballet for the holiday season, having commenced tonight (November 6), running through December 14. Wellington is its first location, before it tours to Palmerston North, Napier, Christchurch, Invercargill, Dunedin, Auckland and Takapuna. Full details are on the RNZB’s website.—Jack Yan, Publisher





Stephen A’Court


Kate Hawley’s designs for Gretel and Hansel.

 


Re-examining our mission as Lucire turns 22

Filed by Jack Yan/October 21, 2019/11.43

Some of you may have seen the above montage (reproduced below for those who may be browsing on different devices) in our social media. These are our covers over the last 15 years—we branched out into print seven years after we started. Back then, it was unusual for a website to spawn print editions, and probably more unusual to last this long, with the help of some very supportive team members, friends, and allies. We’re incredibly grateful to our readers, who inspire us to put out some great content regularly.
   I have to confess I like these montages. This one took a long time to put together, since not all our covers existed in the same format, and we had to hide the last two since they haven’t appeared publicly yet. When they’re published we might just show off this montage again, with an even 72 covers.
   The reason cover montages fascinate is that they show a trip through recent history. In many respects, my interest in publishing fashion is historical, examining just what about our time tells a story about us. Looking at these covers, I can see that in a short time, our tastes have evolved dramatically. I don’t think of 2004 as a “dark” era—certainly not in the way muddy colours were in vogue in the western world of the early 1970s—yet, there they are, a string of darkened, almost noctural, covers that don’t brighten up for about 11 issues. When you’re living through it, you can’t see what the trend is—certainly none of us alive in the 1970s thought that those browns and mustards felt dated or depressed, yet they convey the era of uncertainty, urban grit and recession well.
   Two thousand four was uncertain to some degree: the global recession hadn’t hit but money wasn’t as free as it had been a few years before, and more people felt the rising cost of living.
   When I showed the montage to fashion and beauty editor Sopheak Seng, he remarked that the nicer covers began in the second half. We had found our feet more by then: the magazine’s look had evolved into something cleaner (don’t those early ones look cluttered?), the dim grey and black backgrounds seldom resurfaced, and the features themselves were more timeless, something begun under Miguel Kirjon with Twinpalms Lucire in Thailand, perhaps recognizing that print magazines had to be more special than the fleeting nature of web-based news.
   By the time Lucire KSA became a reality, we had six years of refining the formula, making all our print issues into works that would capture our readers’ imaginations every month. Editor Annie Wahab at Lucire KSA really understands this, and we at head office really feel a good connection with how she sees our magazine.
   It all underlines our idea of ‘one fashion world, one fashion magazine’. What this old quotation of ours means is that we are all united, beyond such matters as what we earn or what gender we are. And if we can recognize this unity behind all humanity, then we can celebrate what we have in common, not exacerbate our differences. In this respect, we see our mission as the opposite of social media: we want to bring people together, not usher them into silos and echo chambers. As we celebrate our 22nd anniversary, we hope we continue to have your faith in us to do that. What better way to bring us together than compelling stories on deserving people and the love behind their work?

New for our anniversary: please do follow Lucire’s ‘Volante’ section on Instagram at @lucirevolante. Travel editor Stanley Moss and photographer Paula Sweet are curating this account, and it’s already looking very swish. Our regular account is at @lucire.—Jack Yan, Publisher

 


Double WOW: Rinaldy Yunardi wins World of Wearable Art Supreme Award for the second time

Filed by Lucire staff/September 27, 2019/10.45


Stephen A’Court




Hagen Hopkins/Getty Images

Above: Rinaldy Yunardi’s The Lady Warrior nets the designer his second Supreme Award at WOW.

Indonesian designer Rinaldy Yunardi becomes the third person—after last year’s sisters Natasha English and Tatyanna Meharry—to win the Supreme Award at the World of Wearable Art awards (WOW) in Wellington tonight.
   In the 32-year history of WOW, only Yunardi, English and Meharry have managed to take top honours twice.
   The Jakarta-based designer’s entry, The Lady Warrior, is a tribute to women, ‘the toughest warrior of all,’ according to a statement released by WOW. ‘The Lady Warrior plays the role of daughter, wife and mother. She is about inner strength rather than brute physical strength.’
   Yunardi adds, ‘I used various mediums of materials to represent different elements of The Lady Warrior. Recycled paper made into rope and woven tightly together represents humanity and inner strength built from her experiences—she was born vulnerable but with life experiences she has strengthened and become strong.’
   The Lady Warrior also won the Avant-garde section and the International Design Award: Asia.
   WOW founder and resident judge Dame Suzie Moncrieff says The Lady Warrior is ‘a garment that the judges described as an extraordinary metamorphosis of a fragile organic material into something so beautiful. Demonstrating perfect balance and form, as well as immaculate craftsmanship, The Lady Warrior conveys a stunning fragility which is perfectly balanced with a subtle strength. The judges particularly loved the use of traditional weaving to create a piece that is so contemporary.’


Stephen A’Court

Above: Second-placed Woven In-tent, by Australian designer Kirsten Fletcher.

   Second place went to Woven In-tent by Queensland designer Kirsten Fletcher, whose entry also won the Residency Experience award and the International Design Award for Australia and the Pacific. Fletcher’s entry placed second in the Avant-garde section.
   Yunardi had previously won for his inventive Encapsulate in 2017.
   Woven In-tent was made using 500 abandoned tents, and highlights how tents are often abandoned after music festivals. Fletcher noticed this after attending Glastonbury eight years ago, and began collecting tents from festivals. The tent fabric’s ‘ability to crease meant I could cut the tent fabric into strips and create pleated strands to re-weave the fabric into something with new depth and texture. This once abandoned and discarded material suddenly became something with a beautiful lustre and a new life. Our fast fashion culture is setting a dangerous precedent to disregard and undervalue materials and resources. Sadly, this story isn’t new, but it needs to be retold over and over again before we realise the implications of our decisions,’ says Fletcher.
   Joining Dame Suzie on the judging panel were fashion designer James Dobson of Jimmy D, and multimedia sculptor Gregor Kregar. Additional awards were judged by Sir Richard Taylor, creative director of Weta Workshop, B. Åkerlund, fashion activist and co-founder of the Residency Experience, and Melissa Thompson, Cirque du Soleil Creative Intelligence Team lead and conceptrice.
   This year, designers from 43 countries and regions entered, and 115 finalist designers were presented with six themes. Three are recurring (Aotearoa, Avant-garde, and Open) and three are new (Mythology, Transform and White).
   Some 60,000 are expected to attend the WOW show at the TSB Arena in Wellington from September 26 to October 13. Tickets and more information are available at worldofwearableart.com.

Winners
Supreme winner
   The Lady Warrior, by Rinaldy Yunardi, Jakarta (also winning the Avant-garde section and the International Design Award: Asia).
 
Runner-up
   Woven In-tent
, by Kirsten Fletcher, Queensland (also winning the International Design Award: Australia and Pacific).


Stephen A’Court

Dame Suzie Moncrieff Award
   Waka Huia, by Kayla Christensen, Wellington (above).



Stephen A’Court

Aotearoa section
   Natural Progression, by Dylan Mulder, Wellington (also winning the Wearable Technology award) (above).

New Zealand Design Award
   Kaitiaki, by Lisa Vanin, Cambridge, New Zealand.
 
Open section
   Chrysanthemum & Amphitrite, by Jack Irving, London (also winning the International Design Award: UK and Europe).


Stephen A’Court

International Design Award: overall winner
   Gemini: the Twins, by Dawn Mostow and Ben Gould, Atlanta, Ga. (also winning the International Design Award: Americas) (above).
 
White section
   Huaxia Totem
, by Sun Ye, Miao Yuxin, and Yuan Jue, Shanghai (also winning the Weta Workshop Emerging Designer award).
Cirque du Soleil Invited Artisan Award
   Sea Urchin Explosion
, by Jack Irving, London (also winning the Transform section).
 
Mythology section
   Banshee of the Bike Lane, by Grace DuVal, Chicago, Ill.
 
First-time Entrant Award
   Wrath of Medusa
, by Edyta Jermacz, Suchy Las, Poland.
 
Student Innovation Award
   Walk All Over Me
, by Louise Dhyrfort, London.

Sustainability Award
   Engolfed
, by Leanne Day, Auckland.

 


Mário Radačovský’s Black Swan, White Swan—a psychological ballet that’s a welcome departure from Swan Lake

Filed by Jack Yan/May 31, 2019/11.52



Stephen A’Court

The 21st century is full of reimaginings. We see movie series rebooted with new actors and, often, new plots. Producers insist they’re not remaking things, but reimagining them. They take something that we might already know well, and put a twist on it. And if that’s in the Zeitgeist for film, then it could well follow that the ballet world is prepared to see the same.
   Mário Radačovský’s Black Swan, White Swan has already garnered largely favourable reviews when appearing abroad. It was the Royal New Zealand Ballet’s present artistic director, Patricia Barker, who originally commissioned it in 2012 for the Grand Rapids Ballet, where she held the same role. The RNZB performed Black Swan, White Swan tonight for its première in Wellington, and Barker reiterated her belief in Radačovský in bringing the ballet to these shores. Michael Auer created the video designs, Randall G. Chiarelli the lighting, and Marek Hollý the set designs. Laura McQueen Schultz and Nicholas Schultz staged the ballet—they have played the leads themselves for the Grand Rapids Ballet, and are now ballet masters for the RNZB alongside Clytie Campbell.
   It is branded as Swan Lake for our times, a more minimal and modern interpretation that uses the Tchaikovsky score and the basic plot structure. However, gone are the traditional costumes in favour of more modern attire; the video projections and sets use minimalist lighting and mirrored reflections to good effect; and Siegfried’s and von Rothbart’s roles are expanded upon, with far more tension between the two.
   There is intrigue from the get-go, with Siegfried (Paul Mathews) collapsing at a surprise birthday party, before being taken into a fantasy world by von Rothbart (Kihiro Kusukami). The opening scenes for Black Swan, White Swan are full of invention, with an initial set featuring a glowing door frame, to a dance party with five couples, with black and white balloons suspended above them. There is plenty of suggestiveness from the dancing couples as Siegfried attempts to make sense of the world and is introduced to the Black Swan (Kirby Selchow); and as he fights back against von Rothbart’s deceptions, he finds his White Swan in the form of his doctor (Sara Garbowski), as someone who can bring him back to reality. There is a lovely pas de deux between them before the first act concludes, but von Rothbart isn’t finished.
   Knowing the back story to the ballet’s creation is important here: Radačovský says that it is partly autobiographical as he conceived the ballet while battling cancer in a Dutch hospital 21 years ago. He conceived of a Swan Lake with just the pas de deux, though Barker encouraged him to create a full ballet—and the characters of von Rothbart, almost like an illness that endangers one’s grasp on reality, and the doctor-turned-White Swan become more obvious.
   The unconventional in the first part of the first act (the quickening pace of the couples at the party, for instance) does give way to a more classical style—neoclassical if you must—yet one would have thought that if Siegfried was in a fantasy world, there would be flashes away from the neoclassical style, keeping audiences off-kilter just as Siegfried is. The appearance of 14 swans impresses, but it doesn’t feel like an alternative reality; except, perhaps, for when they lie down and form silhouettes of swans from a raised arm and curled legs.
   Early on Kusukami steals the ballet in his energetic portrayal of von Rothbart, the movements in Radačovský’s choreography suggesting a character who is sudden and unexpected. That first act also is a tribute to Mathews’ stamina: while Siegfried must remain in a melancholy state, he also has to battle von Rothbart in some acrobatic manœuvres, while dancing the pas de deux with the White Swan.
   The second act sees von Rothbart deceive Siegfried further by bringing out his wife, masquerading as the Black Swan; and it was the pas de trois between them that showed the challenging moves that Radačovský created—some of the most admirable and technically complex movements were pulled off wonderfully by the dancers.
   Siegfried and von Rothbart continued their sparring battles through to the end of the second act, with ever quickening and passionate movements, and rather than write a spoiler, we’ll depart from the substantial part of this review by saying that Radačovský does bring us back to the unconventional.
   Proving that audiences do like villains, Kusukami received particularly loud clapping from the Opera House audience, either slightly greater than or on a par with what Mathews received; and Radačovský received roaring applause from an appreciative audience, too. Most ballet enthusiasts, especially lovers of classical ballet, will want to see a fresh take on Swan Lake, especially one that isn’t told from the Odile–Odette point of view.
   After Wellington, Black Swan, White Swan heads to Auckland, Palmerston North, Tauranga, Christchurch, Dunedin and Blenheim. More details can be found at the RNZB’s website.—Jack Yan, Publisher







Stephen A’Court

N.B.: An earlier version of this story identified Clare Schellenberg ‘as RNZB’s new “one to watch”’ from the party scene, but we have been informed that she appeared as one of the 14 swans. It appears we were mistaken about the party dancer’s identity.—JY

 


Royal New Zealand Ballet’s The Nutcracker gets into a festive mood

Filed by Jack Yan/October 31, 2018/11.46




Stephen A’Court

Top image: Nicholas Schultz as Herr Drosselmeier and Katherine Minor as Marie Stahlbaum. Above, from top: Fabio Lo Giudice as the Nutcracker Prince, before he wins his fight against the Mouse King. Katherine Minor and Fabio Lo Giuduce. The waltz of the flowers.

Almost to the day eight years ago, we reviewed the Royal New Zealand Ballet’s The Nutcracker, a reimagined version set in a 1930s children’s hospital ward. The company has performed The Nutcracker before, with the first in 1963, with a very traditional outing. Tonight’s première, kicking off a season that runs till December 15, takes a traditional route as well, and even for those of us impressed by the inventiveness of the 2010 production, it did not disappoint.
   Choreographed by Val Caniparoli, designed by Michael Auer, and with the New Zealand Symphony Orchestra (conducted by Hamish McKeich) performing the Tchaikovsky score in the Wellington shows, there was plenty to admire.
   Jon Buswell’s lighting and the opening set, appearing behind a scrim, were the first noticeable elements: the scenes of Herr Drosselmeier’s workshop and Marie’s bedroom faded in and out theatrically among an animation of houses, before opening to the Stahlbaum home’s grand set and their Christmas Eve party. There was more than enough to get you into a Christmas mood already, more than a Bing Crosby White Christmas medley.
   Pagan Dorgan, the children’s ballet master, would have had her hands full coordinating the children in this and subsequent scenes, while Shanwen Tan, as the young Fritz Stahlbaum, was a natural performer, having a tremendous amount of fun and energy on stage. Over 300 young dancers were given the opportunity to perform on stage.
   Special mention must be given to RNZB artistic director Patricia Barker’s colourful costume design, a credit one would have to hunt for in the programme.
   Katherine Minor’s performance as the daughter, Marie, who is gifted the nutcracker doll, was perfect: full of the youthful innocence her character required, we journeyed to the Land of the Sugar Plum Fairy through her eyes. Nicholas Schultz had the right showmanship to play Herr Drosselmeier, the toymaker.
   There arguably hasn’t been this much snow falling in any RNZB production we’ve attended over the years, as Marie and the Nutcracker Prince (Fabio Lo Giudice) venture into the Land of the Snow, the snowstorm getting heavier as the first act concluded. Their pas de deux here was particularly touching, as Marie realizes her much-loved nutcracker doll has come to life, with Caniparoli’s choreography bringing real emotion to the scene.
   The second act is where most of the dancers get a chance to shine. Abigail Boyle, in dual roles as Frau Stahlbaum and one half of the Arabian coffee couple, remains a stand-out performer. Nadia Yanowsky’s grand pas defied gravity and she mesmerized the audience as the Sugar Plum Fairy. When Yanowsky and Boyle danced, one in front of the other, near the end of Act II, you knew you were witnessing two of the company’s best in action. Loughlan Prior, pairing with Boyle, and Paul Mathews, with Yanowsky, were capable and flowing.
   There were plenty of dancers to keep an eye on, among them Kihiro Kusukami (as Chinese Tea), who showed great control; while Alexandre Ferreira shone as one of the Spanish Chocolate quartet.
   In a concession to New Zealand, there were characters of Dewdrop (a fantastic Sara Garbowski) and pōhutukawa flowers joining the other countries at Marzipan Castle, replacing Denmark in the original Marius Petipa libretto.
   Three students from the New Zealand School of Dance and one intern from the Mt Eden Dance Academy also appear in the production.
   Sponsored by Ryman Healthcare, The Nutcracker opened tonight (October 31) in Wellington at the Opera House, before touring to Blenheim, Invercargill, Dunedin, Christchurch, Palmerston North, Napier and Auckland, finishing in Takapuna on December 14 and 15.—Jack Yan, Publisher

 


Natasha English and Tatyanna Meharry pick up their second World of Wearable Art Supreme Award

Filed by Lucire staff/September 28, 2018/11.30




Stephen A’Court

Above, from top: Supreme winner, War Story, by Natasha English and Tatyanna Meharry, Christchurch, New Zealand. Tar’White by Ali Middleton of Wellington, coming third in the Aotearoa section. Quantum, by Annabelle Widmann, winner of the Cirque du Soleil Invited Artisan Award.

Two sisters from Christchurch, New Zealand, Natasha English and Tatyanna Meharry, have become the first people to win the World of Wearable Art’s (WOW) Supreme Award twice, as the results were announced tonight at the TSB Arena in Wellington.
   English and Meharry’s War Story, or, to give it its correct styling, WAR sTOrY, is made up of recycled items, including plastic toy soldiers, crushed red bricks, salvaged rimu from demolished houses, traded pieces of pounamu, and army and household blankets. The work commemorates the 128,000 New Zealanders who served in World War I and the 18,000 who died on active service, and required two models, one on a wheeled cart.
   They began planning their entry in 2014, the centenary of the start of the Great War, with an aim of showing it at WOW in 2018, the centenary of the war’s end.
   War Story also won the Aotearoa section of the competition.
   They won in 2013 for The Exchange and were runners-up in 2016 for Baroque Star.
   Lucire fashion editor Sopheak Seng, who attended the awards’ night, said this year’s event was the ‘best one in a long time,’ and had also picked War Story as his favourite. ‘It is one of the most beautiful and moving,’ he said. ‘Impeccably made, a beautiful story, and it made me cry when it showed there was a person on the cart.’
   He also listed Tar’White by Ali Middleton of Wellington, Quantum by Spanish designer Annabelle Widmann of Santa Eulalia, Ibiza, and Echoplex—Goddess of Reverb, by Natalie Hutton, Melbourne, Vic. as his picks of this year’s entries.
   Dame Suzie Moncrieff, the founder of the event, said that War Story is ‘a garment that the judges described as an exceptional example of powerful storytelling realized through a work of art. An entry that the judges described as an exceptionally compelling realization of a thought-provoking narrative that is flawless in its execution.’
   Judges this year were Dame Suzie, Nom D’s Margarita Robertson, Weta Workshop art director Sam Gao, Weta Workshop CEO and Academy Award winner Sir Richard Taylor, Cirque du Soleil’s Nathalie Bouchard, and international guest judge and 2011 WOW Supreme Award winner, Mary Wing To.
   WOW attracted entries this year from 44 countries, and a record 17 countries and regions were represented in the show. The show featured 140 finalist garments from 147 designers.
   The show is presented as six “worlds”, with Avant-garde, Aotearoa and Open sections as usual, and Under the Microscope and Reflective Surfaces added this year. The biennial Bizarre Bra section returned for this year.
   The World of Wearable Art show runs from September 27 to October 14, with tickets available through worldofwearableart.com. It is expected that 60,000 will see the show annually, with 40,000 travelling to Wellington from around New Zealand and abroad.

Other winners
Supreme winner
   War Story
, by Natasha English and Tatyanna Meharry, Christchurch, New Zealand (also winning the Aotearoa section).

Runner-up
   Ernst Haeckel’s Bride
, by Nika Danielska, Wrocław.

Dame Suzie Moncrieff Award
   Mind the Synaptic Gap
, by Grace DuVal, Chicago, Ill.

International Design Award
   Foreign Bodies
, by Dawn Mostow and Ben Gould, Seattle, Wa. (also winning the International Design Award for the Americas).

Open section
   Underling
, by Gillian Saunders, Nelson.

Bizarre Bra section
   Uplifting
, by David Kirkpatrick, Waikato.

Avant-garde section
   Echoplex—Goddess of Reverb
, by Natalie Hutton, Melbourne, Vic.

Reflective Surfaces section
   The Wise Athena
, by Lau Siu San and Cathy Sin Wei Chow, Hong Kong.

New Zealand Design Award
   Eye See You Fluffy Kōwhai
, by Tina Hutchinson-Thomas, Christchurch, New Zealand.

Other regions’ International Awards
   Absinthium
, by R. R. Pascoe, Blue Mountains, NSW (Australia and Pacific Design Award).
   Blue Star, by Adam McAlavey, London, England (UK and Europe Design Award).

Cirque du Soleil Invited Artisan Award
   Quantum
, by Annabelle Widmann, Santa Eulalia, Ibiza.

First-time Entrant Award
   Hide and Seek, by Mingzhang Sun (London College of Design), London, England.

Student Innovation Award
   Shell, by Zhang Qiyao, Shanghai.

Sustainability Award
   Something Fishy: a Man-Eater Double Feature, by Wendy Moyer, San Miguel de Allende, Guanajuato.

Wearable Technology Award
   236 Maiden Lane
, by Lynn Christiansen, San Francisco, Calif.

Weta Workshop Emerging Designer Award
   Spirit Bone
, by Guo Xiao Tong, Beijing.
















Stephen A’Court

Above, from top: Ernst Haeckel’s Bride, by Nika Danielska; Wrocław Mind the Synaptic Gap, by Grace DuVal, Chicago, Ill.; Foreign Bodies, by Dawn Mostow and Ben Gould, Seattle, Wa. Underling, by Gillian Saunders, Nelson. Uplifting, by David Kirkpatrick, Waikato. Echoplex—Goddess of Reverb, by Natalie Hutton, Melbourne. The Wise Athena, by Lau Siu San and Cathy Sin Wei Chow, Hong Kong. Eye See You Fluffy Kōwhai, by Tina Hutchinson-Thomas, Christchurch, New Zealand. Absinthium, by R. R. Pascoe, Blue Mountains, NSW. Blue Star, by Adam McAlavey, London, England. Hide and Seek, by Mingzhang Sun of the London College of Design. ;Shell, by Zhang Qiyao, Shanghai. Something Fishy: a Man-Eater Double Feature, by Wendy Moyer, San Miguel de Allende, Guanajuato. 236 Maiden Lane, by Lynn Christiansen, San Francisco, Calif. Spirit Bone, by Guo Xiao Tong, Beijing.

Backstage with make-up artists from Te Auaha

Highlights from the World of Wearable Art 2018 show

 


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