Cutting-edge Nostalgia: New Zealand Fashion Design at the New Millennium

Sword Carry in the Art of Ashurnasirpal Ii: Displays of Divine Authority

“…However, in addition to a significant investment of materials in the making of a sword which could have been costly depending on a society's access to of metals such as iron, tin, and copper (certainly moreso than, say, a spearhead mounted on a wooden shaft), the technical ability needed to make a sword surpassed those of other weapons requiring less metal (Molloy 2010: 413–414). In addition, proper use of the sword required finesse and specialized training specifically for the mechanics of the sword (Fontjin 2005: 147; Osgood et al 2000: 23; Molloy 2007: 94–96; Molloy 2010: 413–415). This was an especially important aspect of owning and caring for the sword as improper use would not only render a strike ineffective due to improper edge alignment or impact angle but could also result in blade damage (see Gentile and Gijn 2019) or even catastrophic failure of the weapon as evidenced by torn rivet holes in surviving examples of bronze “rapiers” (Fontjin 2005: 146–148; Molloy 2010: 413–414).…”

Built for niche: Rethinking the role of manufacturing in developing designer fashion in New Zealand

“…In either case, the way that fashion design has developed over the past 150 years, has been different to the way in which the industry developed in the United Kingdom (through the Industrial Revolution, the Arts and Crafts period, and supported by a substantial textiles and apparel manufacturing industry [Jones 2006]), in that ideas have been imported and processes copied rather than evolving as a part of an ongoing process. As a result, the concept of designer fashion, as fashion design which is developed conceptually and distinctly as New Zealand design, did not emerge until the 1980s and did not gain any international recognition as something worthy of attention until the early 2000s (Goodrum 2004;Molloy 2004). The catalyst for New Zealand fashion being noticed, rather than on the basis of originality in design, was the New Zealand government's sponsorship of a combined showing at London Fashion Week in February 1999 following a successful foray into Australian Fashion Week in 1997, sponsored by Wools of New Zealand (Goodrum 2004;Molloy 2004: 386).…”

“…The catalyst for New Zealand fashion being noticed, rather than on the basis of originality in design, was the New Zealand government's sponsorship of a combined showing at London Fashion Week in February 1999 following a successful foray into Australian Fashion Week in 1997, sponsored by Wools of New Zealand (Goodrum 2004;Molloy 2004: 386). The collections showcased in London were developed by local fashion companies Zambesi, World, Karen Walker and NomD' (Goodrum 2004;Molloy 2004).…”

Chapter 8 Grappling with the Challenges of Start-up in the Designer Fashion Industry in a Small Economy: How Social Capital Articulates with Strategies in Practice

“…Creative industries are now being proposed as 'hubs of new organizational and business practices' (Lampel & Germain, 2016) and, in the case of the New Zealand fashion industry, a vehicle for branding a city (Thompson-Fawcett, 2007) or the country's image and taking this to the world (Larner & Molloy, 2007;Molloy, 2004). In countries like the UK where the DFI has a long history, such effects have stimulated a great deal of research activity although in recent times special issues examining the creative industries (e.g., the special issue of Journal of Business Research, 2016, Vol.…”