While staying in Nelson, we relished the opportunity to visit the World of WearableArt (WOW) museum. Local sculptor, Dame Suzie Moncrieff, instigated the World of WearableArt as a means of promoting a local co-operative art gallery; by taking art off the wall and displaying it on the moving body. Each year, the competition culminates with a spectacular show where the works are brought to life on stage. Since the inaugural show in 1987, the competition now attracts entrants from around the world. The museum dishes up a visual feast of which I will share a tasty portion.

The adventure begins just after the ticket counter, with the vibrant colours of Escaped Pods delivering a promise of things to come. Lynn Christiansen (USA) used felt and fabric for her depiction of Castilleja seed pods that have escaped captivity at the seed bank to live for today.

The displays are separated into different sections with each representing a theme. The Open Section is unique in that it has no thematic boundaries, giving designers complete freedom to create, limited only by their imagination.

Synthetic scraps, Fimo (a clay developed in the mid-20^th century that could be hardened in the oven) and floor insulation were used by Daniella Sasvári and Aaron La Roche (NZ) to create the monarchial Regnum Dei.

Peeling back the layers to reveal the real you, Mary Turner’s (NZ) Appeeling is made from Worbla (a thermoplastic resin), foam, fabric and paint.

Striking and hypnotic, the changing patterns and colours of Collide-o-Scope were composed from neon acrylic, lycra, aluminium and Worbla by Vicky Robertson (NZ).

Fabrics, hand-painted skulls and skeletons were used by Sheela Stoneman (NZ) for Memento Mori to illustrate that life is short, death is long, so we need to live life to the fullest while we can.

‘Nature, the hero warrior, transfigures forsaken giants of industry into works of inspiring beauty’. Jill Benson (NZ) used PVC foam board, brass and cotton to construct Derelict Beauty.

Wolfgang Amadeus Mozart was obviously the inspiration for Carolyn Gibson’s (NZ) Rock Me Amadeus. Few materials are more fitting than velvet, leather, pearls and lace for a man who declared that love is the soul of genius.

Golf bags, clubs, tees and vinyl were used by Leanne Day (NZ) to relate the overwhelming feeling of having more ideas than time with Engolfed.

The Mythology Section features fantastical designs influenced by dark tales from other dimensions; monsters and creatures, gods and goddesses. Banshee of the Bike Lane shrieks her mourning of the senseless deaths of fallen cyclists. This howling spectre is assembled from bicycle inner tubes, chains, cogs and a wheel by Grace DuVal (USA).

The story of the thread of life – the beginning, middle and end – is told through shape and colour by Tina Hutchison-Thomas (NZ). Velvet, hand-dyed chiffon and embroidery were used to create the garments of The Moirai – the Shape of Us.

Feathers, silk taffeta, paint and crystals combine in the colourful Eden by Ian Bernhard (NZ), a portrayal of a creature of paradise, lost.

Xu Ran’s (China) 3D printed resin, nylon, rope and plastic, Feathers of the Roc, tells the story of giant fish that grow wings and turn into big birds to pursue freedom.

Based on the ancient theory of female hysteria, Louise Byford (UK) has melded latex sheeting, liquid latex and leather to present The Wandering Womb.

Although Nyx, goddess of the night, has the appearance of a multitude of feathers, it was actually created with plastic bags, metal wire and polyester by Dinh Hai Yen (Singapore).

A fascinating fusion of patent leather, beads and non-woven cloth form the convolutions of Chang-Yi-Wei’s (Taiwan) Soul Guardian, the god who guards the soul.

Wrath of Medusa was inspired by the Greek mythological creature Medusa, as sculpted by Italian artist Bernini. Edyta Jermacz (Poland) opted for vinyl latex, neoprene, jacquard and polypropylene padding for her concept.

Experimental, radical and unorthodox, the Avant-garde Section challenges designers to defy the boundaries of fashion and rebel against the norm.

Buddhist altar cloths and kimono obi lining merge to form Shinka (‘Evolution’ in Japanese). Christopher Davis (NZ) poses the question, ‘in a world of change and rapid evolution, will tradition still remain?’

With the stunning use of steel, silk and silk georgette, Thingamla Adrianne Keishing (India) conceived Oracles of Life, influenced by the aquatic world, especially the rhinopias and coral reefs.

The Lady Warrior embodies the toughest warriors in life – women – in their role of daughter, wife and mother. Rinaldy Yunardi (Indonesia) has brought his vision to life using metal and recycled paper.

Edyta Jermacz (Poland) features once again in this section, using latex, neoprene, fringing and buckles to produce Big Lips, inspired by a range of romantic emotions: desire, obsession, sex, love, intensity.

Silk, foil, foam and wire form the bold concept by Anna von Hartitzsch (UK), Clotho – the Goddess of Fate. According to Greek mythology, the youngest of the three Fates spins the threads of human life.

Baroque style and religion inspired Lam Hoi Man Kinki (Hong Kong) to create Holy Light using non-woven fabric, metal and satin.

Silk satin, taffeta and stone beads adorn Joan, Ian Bernhard’s (NZ) ‘armoured figure in liquid splendour’.

This armour is an interpretation of ‘power dressing’ and the illusory power of the stiletto. Louise Dyhrfort (UK) chose vegetable-tanned leather and plastic heels for Walk All Over Me.

Shantanu Singh (India) surmises, ‘we can’t even imagine the world or universe without black’. Velvet, lycra, crepe, pleated taffeta and cords compose Black – an Inner Strength.

The faceless, menacing Dearth Exterm represents a strong, powerful female version of the Knave of Hearts. Nicola Rule (NSW) has combined leather and taffeta for her mysterious character.

With a few more sections to share, I am planning a second instalment. Stay tuned…..