In its 37th year, New Zealand’s beloved World of WearableArt hit stages late last week (announcing its bevy of award winners which you can see here), and will veritably WOW audiences in the capital until 13 October. 

This year’s theme is ‘Dream Awake’, the programme promising to plunge spectators into “​​awe-inspiring realms”. This is par for the course for the annual spectacular, which has developed a world-class reputation for mixing performance with awe-inspiring garments designed by its global collective of finalists. 

The Big Idea has tapped the minds of the key creatives behind this year’s show to gain insight into the skill and passion that it takes to put on a show of this size - as well as imagination.

“It’s not corporate, it’s creative,” Executive Creative Director Brian Burke unequivocally states over an americano in Wellington’s art-filled QT hotel. 

“WOW is community focussed, with its wholesome beginnings - I’m always amazed at how the whole team of Kiwi talent brings all of the elements to life,” Burke continues. 

This is unlike many of the huge Las Vegas productions, major artist world tours and televised talent shows where he's built a formidable standing as one of the most successful artistic directors in the entertainment industry. In contrast to WOW, these are often commercial, with a capital C. 

Burke is understatedly calm and considered in our interview for someone of his esteemed stature in the Vegas show industry. He was headhunted in 2019 to take on the Executive Creative Director role, as WOW has expanded from its humble beginnings as a festival of “cottage” garment designers based in Nelson to one that invites creatives from all over the planet to create work to a yearly changing theme. 

On what drew him to take on such a key role with WOW, Burke explains, "I was so passionate about the people, the concept and the creativity and knew in my heart this show could evolve into something even greater."

Burke adds he “saw the potential in the production and the garments - the production could be elevated. WOW had its own beautiful DNA and should be itself- everyone in entertainment wants authenticity- not a clone of something else.”

The 2024 version brings surreal and fantastical designs, and a stunningly curated programme of entertainment, from aerialists to live musicians to audio-visual magnificence.  Anyone who's seen a WOW show before knows the benchmark is set extraordinarily high.

No one understands that more than Artistic Director, Malia Johnston, who has created for WOW since 2002. She remembers the Nelson days - when WOW was held in a basketball stadium. 

“Even then, I could feel the ambition - to this day it's the biggest runway I’ve ever directed.” 

Johnston emphasises the centrality of the ‘wearable art’ in the show. Despite the fact that the show has grown to include live dance, music and other captivating elements, it still celebrates “the magic that designers create”. 

There are challenges with the garments, echoes Costume Designer, Gabrielle Stevenson. Her job is to make sure that performers can move breathtakingly in the ornate (and sometimes restrictive) designs, as well as create synchronous costumes for the ensemble. 

Stevenson was thrilled with this year’s dreamy theme and used it to celebrate some of her favourite surrealist artists, including René Magritte, with performers sporting his trademark bowler hat. 

One scene, choreographed by Kayla Paige and Holly Newsome, sees dancers crossing the stage in office wear with briefcases and bowler hats - a contrast with the bohemian consortia of dancers and musicians in a vibrant circus-style ensemble towards the end of the show. 

“Humans are storytellers, that’s why I adore working on costuming for WOW,” Stevenson adds, “the show is like living art, with humanity on display that taps into something so much bigger than ourselves - to the wildness inside of us. Exercising our emotions in reaction to things that are exquisite and awe-inspiring connects us to our humanity.”  

Similarly, Johnston references “the dreamer inside all of us,” for this year’s show in particular. 

“With the performance technology we use, each year gets better and better…being a choreographer originally, I like to draw out the narrative of each of the garments. The 'models' are so much more than that - they are performers, and tell the narrative.” 

This year, the show is headlined by two exceptional musicians, Sharn Te Pou and Nikita 雅涵 Tu-Bryant. They bring psychedelic pop and stunt elements to the show, giving x-factor quality. Also featured in the show are violinist Shimna Higgins, multi-instrumentalist Dave Khan, ballet dancer Tabitha Dombroski and renowned performer of physically integrated dance, Rodney Bell.  

The show is inclusive and expansive, with huge variety and compelling skills on display. 

Dombrovski is taking part in WOW for the fourth time - the last 12 years ago as a child performer - this year has been a full-time, two-month intense process. She dances ethereally in pointe shoes across the stage - in an ultra-sleek bodysuit - detailing the ‘Dream Awake’ theme permeates through the whole process of creating WOW. 

“I am living the dream,” she smiles, “you are living the dream when you are creating art every day.” 

“There are references to different cultures throughout the show,” says Johnston, “Art is like food for people from all walks of life, it's essential to our core. WOW brings together designers from all different cultures on a show that explores universal themes of creative expression. As a choreographer, I also believe movement is a universal human need. Blending music and art is the greatest pleasure for me in WOW.” 

Johnston works closely with music director Eden Mulholland to integrate audio and visual elements in a spectacular way. Mulholland (Ngāti Porou) reveals his key role emerged after years of viewing the show. 

“My involvement as a composer didn’t begin until 2018 when I was asked to compose for the reflective surfaces section. I knew instantly I would enjoy the challenge of writing this show, with multiple styles and genres and an intimate connection to movement and emotion,” he enthuses. “I just love seeing the audience's faces light up!  For real- the best feeling.”  

The score for 2024 includes ultra-impressive updated versions of Kiwi classics such as Dave Dobbyn’s Slice of Heaven and Lorde’s Royals - listen out for them.

And this is the magical formula of WOW - where the familiar meets the avant-garde, with a charming New Zealand flair.

“WOW really belongs in Wellington,” says Burke. Despite his portfolio as Las Vegas’ showman extraordinaire, he wants to see WOW continue to bloom in the windy city of the Southern Hemisphere.

“I love coming every year to draw out the magic with this vibrant community of creatives”. 

Sell-out enthralled audiences appreciate it so much, the TSB Arena is electric on opening night. “The most magical moment is when you evoke an emotion in the audience and they feel something. They feel transported and moved but they don't know exactly why or sometimes remember exactly what it was. This for me is magic.” 

This hypnotically entertaining show blends so many art forms and entertains in abundance - no one who enters the show forgets their experience.

As Burke notes, "I hope anyone who has not come to a WOW show will come to see us and experience the unique magic. This is a one-of-a-kind experience. WOW is made from a collective of incredible artists from all over the world. As they say.....it's what dreams are made of!"