But within minutes of the production's start, everything fell into place. For here were the breathtaking results of complicated art forms made from unexpected materials adorning the body, not as static displays but working ingeniously and symbiotically with the models' and dancers' movements. It is in the sway and swish, the lilt and tilt, the rocking and the rhythm that the magic lies.
There was only one nagging regret, that of being unable to see the spectacular entries up close, except in Nelson.
But to celebrate the first 25 years of this landmark New Zealand event and its phenomenal development and success, the book Wearable Art has been published.
And like the larger-than-life WOW concept, the 274-page book is published in large format, making way for a bounty of big, bold images of more than 70 of the most outstanding entries over the various categories in recent years. All are worn by models. And yes, every image is up close, the superb photography capturing every detail and the sense of movement.
As expected, the variety runs from the bizarre and incongruous to the audacious and beautiful.
From Alaska, there is David Walker's Prehistoric Princess in cherry wood and cedar. Spectacularly manipulated recycled zippers were used by Deborah Shepherd for her City Lolita and WOW founder Dame Suzie Moncreiff's exhibition piece Hands Off in latex, urethane, foam, and fabric sums up in one startling outfit what Wearable Art is all about.
This remarkable woman opens the book with an erudite story of the growth of the event through the years. And the fitting ending to what is a visual overload are a series of shots from atmosphere-drenched WOW performances, along with photographic compositions.
This is not only a book for wearable art exponents and followers but also for enthusiasts of art, design, the unexpected, and all those possibilities.
- Jude Hathaway is an ODT features writer.
