By Victoria Wells
There wasn't a catwalk in sight for the final show of L'Oreal New Zealand Fashion Week - instead, designer Karen Walker opted for the controversial move of putting her models on a revolving platform.
Several hundred guests packed the York Street Studios in Parnell to see her "Queenie Was A Dog" range, which had a strong funhouse influence. The models sat at one end of the room on a platform, which rotated as a man in a gorilla suit turned a wheel.
Unlike previous shows, at which VIP buyers and media were ushered to front row seats, the Walker show saw all the guests cram around the platform. It was a tight squeeze and many opted to stay in the larger room next door, while others walked out, complaining they couldn't see the clothes.
Walker used a distinctive merry-go-round print to create velvet blazers, bustiers, hooded sweaters and a baby doll dress. Other prints included puppies and balloons - a nod to the end of innocence. The models wandered off to change occasionally to reveal more of the collection.
Karen Walker also launched her jewellery range at the show with huge images of the jewellery projected onto a wall.
Walker's show signalled the end of four days of trade shows at which around 50 New Zealand designers showed their autumn/winter 2004 collections for local and overseas buyers and media.
Day four of Fashion Week had started with a New Generation Show featuring Sidewalk, Cybele, Helen Talbot and Kristen.
Talbot featured tailored suiting, floor length full skirts and coats with buckles and medal detailing.
Sidewalk and Cybele both delivered wearable, urban street style while Kristen presented feminine pieces in dusky pink, white and chocolate. Skirts, fitted tops and coats were created in devore velvet, lace and wool.
The second New Generation Show featured male dancers in underwear by Ink'd, while IDXU showed tailored suits for winter - fitted jackets teamed with slim line trousers, a velvet trench coat and full length black velvet coat with floral lining.
Zya echoed 1940s glamour with models in pencil skirts, fitted shirts, fur stoles and fedora hats.
Teenager Tracey Ngarotata stole the show however, with her Ngati Babe label. Maori warriors began the show, which featured street wear with the label's logo. Models with moko paraded in fitted tops, jeans and hooded sweats. The teen then joined in a haka at the end of the show.
Designer Liz Mitchell had stars both on and off the catwalk for her show "Kiss of the Dragon". Model Nicky Watson was front row, as was E Channel presenter Cindy Taylor, Alison Mau, Rebecca Hobbs and Kate Hawkesby.
Influenced by 1920s and 1930s Shanghai, Mitchell used lavish silks to create French knickers and bras, petticoats, draped tops, loose trousers and floor length evening dresses. TV presenter Susan Wood modelled an elaborately embroidered cheongsam, while rich velvet was used in long coats.
After four days of shows, the designers are now at the business end of Fashion Week with the aim of sewing up new deals and cementing existing contracts.
Designer Trelise Cooper, one of New Zealand's most successful fashion exporters, readily acknowledges the benefits L'Oreal New Zealand Fashion Week has brought.
"Without Fashion Week, I wouldn't have had the introduction to international markets that I have had."
Accessories designer Roanne Jacobson, of Saben has spent four days on her stand in the exhibition tent and looks set to break into the US market after interest from a visiting buyer who represents several retail stores in the States.
She has also cemented orders from existing stockists in New Zealand, Australia and Denmark as well as gaining new business.
"That's why we're here," says Jacobson, "It's pretty exciting."
A clearer picture of the benefits of L'Oreal New Zealand Fashion Week are expected to come out of an economic impact survey currently being compiled.
