logo
Designer pods house fashion collection

Designer pods house fashion collection

A massive, high-tech "Lego set", inspired by the Maniototo landscape, has been created by a Dunedin company to display some of the country's top fashion.
While most of the high-end outfits in Naseby farmer Eden Hore's collection of New Zealand fashion on show are in Dunedin, some are on display in Central Otago, encased in custom engineered "pods", designed by Dunedin company ZoomTech.
Design engineer Richard Cathro said work on the pods began about five years ago, following discussions with Eden Hore collection steering group member and fashion historian Dr Jane Malthus, who already had a concept design for the cases.
"I was a little intrigued about it," he said.
Mr Cathro knew of the collection and had visited "the Eden Hore menagerie of things" and its caretaker while staying in the Maniototo as a child.
"I could imagine at that time I was very reluctant to be dragged around looking at dresses," he said.
Mr Hore amassed the largest collection of haute couture 1970s and '80s fashion in New Zealand — more than 270 gowns, primarily by the country's leading designers.
The outfits were housed in a former tractor shed on his property until his death in 1997 and this month, a two year exhibit displaying collection highlights opened at Toitū Otago Settlers Museum.
However, some items are also on display in ZoomTech's pods at small exhibitions at Central Stories Museum and Art Gallery in Alexandra and at Lohi in Ranfurly.
Exhibiting the delicate clothes outside of museum conditions presented a challenge — "the only way you can put some of these clothes on display is in some means of that people can't touch them," Mr Cathro said.
The solution was the airtight pods, made of about 300 pieces of wood, plexiglass and aluminium — "a massive Lego set to build" — with a computer-controlled air circulation system to prevent dust settling on the clothes.
The pods' colours were inspired by the Maniototo landscape and fashion photographer Derek Henderson's images of the collection modelled in the Central Otago high country.
Six pods had been constructed, though not all were in use, and ZoomTech had received huge input from the collection steering group.
"The challenges to make this are beyond trying to write them down," Mr Cathro said.
For example, the pod's plexiglass had to be bent, but "we couldn't find anyone to bend the plexiglass so we built a machine to do it."
Since they went on display, Mr Cathro had fielded inquiries about the pods from Te Papa and had five women looking to display their wedding dresses in them.
"We do a lot of work for overseas that no-one gets to see in New Zealand. So in lots of ways, this was a project that I could do that we could show off some of our work."

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Art seen: June 5
Art seen: June 5

Otago Daily Times

time4 days ago

  • Otago Daily Times

Art seen: June 5

"Eden in Dunedin" (Toitū Otago Settlers Museum) "Eden in Dunedin" displays many of the finest articles of women's clothing and accessories from the Eden Hore Central Otago fashion collection. Hore's remarkable and unique collection, assembled during the 1970s and 1980s and now owned by the Central Otago District Council, focuses primarily on the fine fashion of the era in which it was collected. From lush evening gowns to quirky daywear, we are transported into an era bookended by hippiedom and grunge styles, while also heavily influenced by earlier eras. The display showcases items from many top New Zealand designers, and ranges in style from Rosalie Gwilliam's heavily sequinned evening gown to James Jaye Leather's stark but sexy leather trouser-suit. June Mercer's award-winning crocheted outfit stands alongside Beverley Horne's startling merino and lurex gown and hot pants. Accessories range from Vinka Lucas's stunning flapper-inspired cloche hat to chunky but stylish leather shoulder-bags. Every item is thoroughly documented with interactive displays of text and photographs of the pieces being modelled. The exhibition is completed by video and photographic installations which provide not only further information about the overall collection but also a taste of its location and the process by which Eden Hore acquired the pieces. "Civil Twilight", Nicola Jackson (Brett McDowell Gallery) Brett McDowell Gallery is gaudily strewn with over 50 works by artist Nicola Jackson. The darkness of the artist's macabre humorous works is counterbalanced by the freshness and brightness of the colours of the pieces, giving the gallery a Dia del Muerte feel. With the works chosen at least partly to coincide with the 150th anniversary of the Otago Medical School, many of the pieces focus on matters medical, with anatomies, maladies and remedies being front and centre. Whereas a few of the pieces are large, notably an impressive cotton quilt and a vibrantly pink jar, many of the works are small, icon-like pieces, with tiny images centred within equally artistic frames. There are strong elements of the surreal in the works and in the exhibition overall, the small paintings placed against guacamole-green walls and seemingly guarded by an array of gleefully grinning skulls. Two intriguing installations bookend the exhibition, both cabinets of curiosities. One is a vibrant collection of "Symptoms and medicaments", with shelves of happy, friendly viruses interspersed with tablets and capsules. The other, in extreme contrast, is an austere black and white, the jars of remedies adding their unnerving whimsy by virtue of their names. All are real medieval panaceas, with contents ranging from "milk and soot" to "knee dirt". "Inge Doesburg" (The Artist's Room) Inge Doesburg delights with her soft, misty landscapes at The Artist's Room. In a series of works which includes acrylic paintings, intaglio, dry-point and etching, the artist has captured the emptiness and airiness of the south. More experimental works, such as the meditative solar-etched tree of Soliloquy suggest that the artist is continuing to add strings to an already impressive artistic bow. Plaster is used to create texture in stark landscapes — or more correctly skyscapes — of Waipiata and the Wairarapa, turning the acrylic surfaces into gently toned gesso. There is a freedom to the mark-making in works such as Flagstaff Walk which are also an extension of Doesburg's previous work and an indication of her confidence in her style. In the current exhibition, Doesburg has extended her linking of art with poetry, drawing inspiration from the words of writers ranging from James K. Baxter to Goethe. Inspiration is also clearly taken from New Zealand art, with nods to Doesburg's antecedents in the McCahon-esque hills of From Flagstaff and Hotere-like style and composition of the Goethe-annotated Untitled . It is the artist's own hallmark style which takes centre stage, however, with works such as the rain-drenched Listening to the Mountain couplet, and Karitane , jutting like rusted roof-iron into a sleepy, milky Pacific. By James Dignan

Early childhood teacher warns accidents will go 'through the roof' after sector overhaul
Early childhood teacher warns accidents will go 'through the roof' after sector overhaul

RNZ News

time06-05-2025

  • RNZ News

Early childhood teacher warns accidents will go 'through the roof' after sector overhaul

The ECE changes will be fully implemented by mid-2026. Photo: RNZ / Marika Khabazi Some early childhood teachers are warning an upcoming overhaul of the ECE sector will make centres unsafe and lower teaching standards In December last year, a regulatory review of early childhood education recommended 15 changes to the current system. Regulation Minister David Seymour has confirmed these will be fully implemented by mid-2026. But some teachers told First Up they believed these changes will do more harm than good. Barbara Reneti was the Centre Manager of Mini Miracles Educare in Henderson, West Auckland. "Our centre is licensed for 90 children. We have four rooms, each room has two qualified teachers - but our babies are fortunate that they have three in their room. "Our day is about interacting with them, learning with them as well as qualified teachers," she said Four children were sitting around a table with a teacher learning to write the letter A. " We empower them not to see just the letter, but we also see that it can be shaped anyway and that we're seeing that the shape of an A doesn't have to be up, down, across. It can be oval, it can go round and across," Reneti said. On another table, a group was building houses using mobilo and Lego pieces. Reneti told First Up the children were learning the blocks could be used in different ways. "It all depends on what they're looking at and what they're trying to build. And we're not forcing them today, 'ok a house goes straight up' because no house looks the same," she said. Reneti had been working in early childhood for more than two decades, but she said it had taken years for teachers like her to be recognised as qualified professionals. "Initially when early childhood education came out, we weren't seen as a professional entity. We were seen as glorified nannies because they didn't see us as a profession at the time," she said. "As we've progressed, we've done the work we've done the studies behind us so that we can get the recognition that we are professionals." In December 2024, a regulatory review of early childhood education recommended 15 changes to the sector. In April, Regulations Minister David Seymour confirmed these changes will be rolled out over the next year and will be fully implemented by mid-2026. One of those changes - recommendation 10 - allowed " flexibility" in early childhood qualifications. However, Reneti said this will undermine the role of teachers with degrees. "It kind of diminishes our degree and it makes it obsolete," she said. "We will become what they had already termed us, as glorified babysitters. Our qualification is not worth the paper it's written on. "We studied that just like primary school teachers did. We did our three years. And we are required every three years to upgrade our skills." She was concerned that without enough qualified teachers, centres will become more accident-prone because untrained staff won't understand how to manage risks. "They don't know to scan and they're like 'scanning for what?' And we're saying 'scanning for the possibility of an accident happening'," she said. "They don't know to position themselves so that they can see, but still focus on moving around with our children and seeing the different areas. "Accidents will increase, it will go through the roof." Reneti believed once the changes goes through childcare centres will become crowded and chaotic. "My worst fear is that this will become chaotic. There will be no structure, there will be no format, there will be nothing that is going to help stimulate and guide our children. "[It's] going to be become a mosh pit because they're going to have so many children coming in, but not enough qualified teachers that are going to help them learn." However, in a statement, Seymour said the Ministry of Education will be working on the recommendation in September. "There has been a lot of speculation about recommendation 10 - to allow greater flexibility in workforce qualifications. There is some anxiety that somehow the level of qualification or skill of teachers in the ECE sector will be reduced. That is not the case," Seymour said. "The Ministry of Education will be undertaking further work to best give effect to recommendation 10 in September. To achieve the best outcomes this work will include engaging with the service providers, parents, and the teaching workforce." Regulation Minister David Seymour. Photo: RNZ / Calvin Samuel But that was of little comfort to Megan White, who manages a community-based childhood centre in Wellington She was also the early childhood representative for the New Zealand Educational Institute Te Riu Roa. White told First Up said it was privately-owned centres that will benefit most from the flexibility in workforce recommendation. "Generally speaking, they don't have as many qualified teachers, which means their cost is significantly lower," White said. "So, for them this regulation review, they're probably happier that because it means they have to have even less qualified teachers, which means more money for them." Currently, centres with 100 percent qualified teachers are eligible for government funding. Under the new guidelines, funding will no longer be linked to the number of certificated teachers. White said her centre is already running at a loss. "You know when they [teachers] are qualified, each year they go up the ladder, but there's no increased funding for that. So, we're essentially running at a loss to be able to pay them the the increased steps that they are entitled to," she said. She said if recommendation 10 was implemented, not only would community-based centres - like hers - potentially lose government funding, but it will also drive them out of business. "If a big corporate one opened right next door to where our community based centre was and they're offering like cheaper fees and you know that sort of thing. Then our centre would they they wouldn't survive because we can't offer any of those things because we're not making a profit." Sign up for Ngā Pitopito Kōrero, a daily newsletter curated by our editors and delivered straight to your inbox every weekday.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store