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| World of WearableArt | |
|---|---|
| Name | World of WearableArt |
| Location | Nelson, New Zealand |
| Established | 1987 |
| Founder | Suzie Moncrieff |
| Type | Costume and wearable art competition |
World of WearableArt is an internationally renowned design competition and theatrical exhibition founded in 1987 by Suzie Moncrieff in Nelson, New Zealand. The event blends elements of fashion, sculpture, theatre and performance and attracts entries and audiences from across Australia, United Kingdom, United States, Japan, and France. Major figures from the fields of Paul Smith (fashion designer), Alexander McQueen, Issey Miyake, Vivienne Westwood to institutions such as the Victoria and Albert Museum, San Francisco Museum of Modern Art, and Te Papa Tongarewa are often referenced in discussions of influence and comparison. The event has spawned touring exhibitions, collaborations with companies like Nike, Disney, and Air New Zealand, and partnerships with arts organisations including Creative New Zealand and the New Zealand Film Commission.
Suzie Moncrieff founded the competition after inspiration from exhibitions at Christchurch Art Gallery, Auckland Art Gallery Toi o Tāmaki, and visits to galleries in London, Paris, and Tokyo; the inaugural shows in Nelson drew attention from media outlets such as BBC News, The New York Times, The Guardian (London), The Dominion Post, and The Press (Christchurch). Over decades the event has evolved alongside festivals like Edinburgh Festival Fringe, Mardi Gras (Australia), and institutions like Sydney Festival, developing ties with theatre companies including Royal Shakespeare Company, Cirque du Soleil, and Ballet Rambert. The World of WearableArt has moved venues from local halls to purpose-built theatres and shared stages with productions at Christchurch Town Hall, The Civic (Auckland), and Nelson Centre of Musical Arts. High-profile patrons and ambassadors have included members of the British Royal Family, leading designers such as Zandra Rhodes, and cultural figures like James Cameron, Peter Jackson, and Weta Workshop.
The competition invites designers and artists from diverse backgrounds and has awarded prizes judged by panels featuring representatives from Victoria and Albert Museum, Museum of Contemporary Art Australia, Metropolitan Museum of Art, Royal Academy of Arts, and media partners like Vogue (magazine), Elle (magazine), and Harper's Bazaar. Major award categories have paralleled honours such as the Turner Prize, Pulitzer Prize, and Tony Award in cultural prominence within costume and performance. Winners have received accolades comparable to those from Prada, Chanel, and Rolex in sponsorship and prestige, and finalists have progressed to residencies at institutions such as Kunsthalle, Peggy Guggenheim Collection, and Tate Modern. Prestigious previous recipients have gained commissions from organisations including Royal Opera House, Berlin State Opera, and fashion houses like Givenchy and Dior.
Design approaches showcased draw on traditions and innovations linked to practitioners such as Issey Miyake, Pierre Cardin, Alexander McQueen, and craft movements associated with William Morris, Arts and Crafts Movement, and Bauhaus. Materials include unconventional media previously employed by artists represented at Museum of Modern Art, Centre Pompidou, and Hammer Museum, while techniques reference couture methods from Chanel (brand), Dior (brand), and Balenciaga. Collaborations with engineering and technology partners such as MIT Media Lab, EPFL, and Fraunhofer Society have introduced wearables incorporating electronics, robotics and LED systems similar to projects by Herman Miller, Philips, and Sony Corporation.
The annual show combines runway, theatre and spectacle in formats akin to productions by Cirque du Soleil, The Royal Opera House, and touring exhibitions mounted at Lincoln Center, Sydney Opera House, and Sadler's Wells Theatre. Touring versions have visited venues including Victoria and Albert Museum, San Francisco Museum of Modern Art, Royal Botanic Gardens, Kew, and international festivals such as Venice Biennale, Biennale of Sydney, and Art Basel. Performers and collaborators have come from companies like New Zealand Symphony Orchestra, Bangarra Dance Theatre, Royal Ballet, and film and effects houses such as Weta Workshop and Industrial Light & Magic.
Educational programmes associated with the event work with schools and institutions including University of Canterbury, Massey University, Auckland University of Technology, and museums such as Te Papa Tongarewa and Canterbury Museum. Outreach initiatives have parallels with community projects run by Arts Council England, Australia Council for the Arts, and Smithsonian Institution and involve partnerships with vocational providers like Wellington Institute of Technology and design schools such as Central Saint Martins. Workshops, residencies and masterclasses have featured tutors from Royal College of Art, Pratt Institute, and Parsons School of Design.
The event is administered by a charitable trust and board with governance models comparable to National Theatre, Sydney Opera House Trust, and Museum of Contemporary Art Australia; funders and sponsors have included corporate partners such as Air New Zealand, The Warehouse Group, and cultural funders like Creative New Zealand, New Zealand Lottery Grants Board, and international patrons. Leadership has interfaced with local government bodies including Nelson City Council and national agencies such as Ministry for Culture and Heritage (New Zealand), while advisory panels have drawn expertise from arts administrators affiliated with British Council, Asia New Zealand Foundation, and the European Cultural Foundation.
Critical reception situates the event in conversations alongside landmark exhibitions at Victoria and Albert Museum, Metropolitan Museum of Art, and festivals like Edinburgh Festival Fringe, influencing creators from Dame Vivienne Westwood to contemporary practitioners exhibited at MoMA and Tate Modern. The event has contributed to Nelson's identity alongside attractions such as Abel Tasman National Park, Blenheim, and Marlborough Sounds and boosted tourism in patterns seen with Queenstown and Rotorua. Scholarly and popular commentary has appeared in outlets including The New York Times, The Guardian (London), Artforum, Frieze (magazine), and journals affiliated with Oxford University Press and Routledge.
Category:Arts festivals in New Zealand