{"id":2200,"date":"2025-09-22T07:29:09","date_gmt":"2025-09-22T14:29:09","guid":{"rendered":"https:\/\/catbradley.io\/?p=2200"},"modified":"2025-09-22T07:29:09","modified_gmt":"2025-09-22T14:29:09","slug":"cultural-narratives-and-craft-converge-in-the-2025-world-of-wearableart-competition","status":"publish","type":"post","link":"https:\/\/catbradley.io\/?p=2200","title":{"rendered":"Cultural Narratives and Craft Converge in the 2025 World of WearableArt Competition"},"content":{"rendered":"

\"Cultural<\/p>\n

Wellington\u2019s extravagant World of WearableArt<\/a> is back for 2025, including pieces by 85 finalists that showcase the some of today\u2019s most elaborate and fanciful costumes. One hundred designers from 17 countries competed for a prize pool of more than $200,000 New Zealand dollars across 25 awards. The competition culminates in an elaborate performance, with this year\u2019s top honor, known as the WOW Supreme Award, handed to design duo Dawn Mostow and Ben Gould.<\/p>\n

The U.S.-based designers have been finalists several times since 2017, and this marks their first win. Mostow and Gould\u2019s piece \u201cTsukumogami\u201d draws on Mostow\u2019s time living in Japan, nodding to the country\u2019s folklore and craft traditions through a reference to mythological tools<\/a> that can be imbued with a spirit, or a kami. <\/em>Two figures completely covered in blue-and-white latex stand like elaborate classical vases, with ikebana <\/em>flower arrangements on their heads.<\/p>\n

\n
\n<\/div>\n<\/figure>\n

This year\u2019s runner-up is Fifi Colston\u2019s \u201cMeine Erste Liebe,\u201d a title which means \u201cmy first love\u201d in German. The wearer is transformed into a medusa, with an elaborate bodice and globular headdress, plus an elaborate, bell-like skirt embellished with detailed jellyfish.<\/p>\n

2025 World of WearableArt Show: RISE<\/em> performances continue through October 5 at TSB Arena in Wellington. Explore more, including an archive of pieces from earlier shows, on the contest\u2019s website<\/a>.<\/p>\n

\"elaborate
Dawn Mostow and Ben Gould (United States), \u201cTsukumogami\u201d<\/figcaption><\/figure>\n
\"an
Fifi Colston (New Zealand), \u201cMeine Erste Liebe\u201d<\/figcaption><\/figure>\n
\"two
Evita Camilleri and Dan Draper (Australia), \u201cFractilians\u201d<\/figcaption><\/figure>\n
\"an
Catherine Anderton (New Zealand), \u201cAutumn King\u201d<\/figcaption><\/figure>\n
\"an
Vanshika Jain (Indian Institute of Art and Design, India), \u201cStripy Mischief\u201d<\/figcaption><\/figure>\n
\"an
Katherine Bertram (New Zealand), \u201cDrift\u201d<\/figcaption><\/figure>\n
\"an
Abhishek Chauhan (India), \u201cThaliora\u201d<\/figcaption><\/figure>\n
\"an
Xuan Jiang, Yuxin Zhou, and Yuhan Lin (Donghua University, China), \u201cEmber\u201d<\/figcaption><\/figure>\n
\"an
Anna Hayes-Moeau (New Zealand), \u201cKo Au Ko Harakeke, Ko Harakeke Ko Au\u201d<\/figcaption><\/figure>\n
\"an
Tracey Murphy and Isabel Costley (New Zealand), \u201cSee Me in Tokyo\u201d<\/figcaption><\/figure>\n

Do stories and artists like this matter to you? Become a Colossal Member<\/a> today and support independent arts publishing for as little as $7 per month. The article Cultural Narratives and Craft Converge in the 2025 World of WearableArt Competition<\/a> appeared first on Colossal<\/a>.<\/p>","protected":false},"excerpt":{"rendered":"

Wellington\u2019s extravagant World of WearableArt is back for 2025, including pieces by 85 finalists that showcase the some of today\u2019s most elaborate and fanciful costumes. One hundred designers from 17…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-2200","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rss"],"_links":{"self":[{"href":"https:\/\/catbradley.io\/index.php?rest_route=\/wp\/v2\/posts\/2200","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/catbradley.io\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/catbradley.io\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/catbradley.io\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/catbradley.io\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2200"}],"version-history":[{"count":0,"href":"https:\/\/catbradley.io\/index.php?rest_route=\/wp\/v2\/posts\/2200\/revisions"}],"wp:attachment":[{"href":"https:\/\/catbradley.io\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2200"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/catbradley.io\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2200"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/catbradley.io\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2200"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}