Journal articles: 'New Zealand Decorative arts'

1

Gilbert, Christopher. "New perspectives in collecting decorative art." Museum Management and Curatorship 10, no. 2 (1991): 172–76. http://dx.doi.org/10.1080/09647779109515264.

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Huppatz, D. J. "New Zealand by Design: A History of New Zealand Product Design." Journal of Design History 27, no. 2 (2014): 188–89. http://dx.doi.org/10.1093/jdh/ept031.

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Stocker, Mark. "Contemporary New Zealand Sculpture." Sculpture Journal 4, no. 1 (2000): 211–12. http://dx.doi.org/10.3828/sj.2000.4.1.26.

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O'Connor, Peter. "New Zealand vignette." Research in Drama Education: The Journal of Applied Theatre and Performance 21, no. 1 (2016): 76–77. http://dx.doi.org/10.1080/13569783.2015.1127145.

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Beever, Jessica E., and Julia E. Gresson. "Polytrichum communeHedw. andPolytrichadelphus magellanicus (Hedw.) Mitt. used as decorative material on New Zealand Maori cloaks." Journal of Bryology 18, no. 4 (1995): 819–23. http://dx.doi.org/10.1179/jbr.1995.18.4.819.

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Grbanovic, Ana Marija. "The Ilkhanid Revetment Aesthetic in the Buqʿa Pir-i Bakran: Chaotic Exuberance or a Cunningly Planned Architectural Revetment Repertoire?" Muqarnas Online 34, № 1 (2017): 43–83. http://dx.doi.org/10.1163/22118993_03401p004.

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The Pir-i Bakran mausoleum (completed by 1312–13; Linjan, Isfahan) is considered to be a typical example of exuberant Ilkhanid architectural decoration. In the 1970s, the International Association of Mediterranean and Oriental Studies (IsMEO) undertook significant research and restoration work on the mausoleum. After their efforts were interrupted by the onset of the Iranian Revolution, restoration activities were continued by the Iranian Cultural Heritage Organization. Almost four decades later, questions concerning the mausoleum’s history, function, decorative program, patronage, and craftsmen—as well as the identity of the deceased—nonetheless remain unresolved. The mausoleum’s tile and original polychrome stucco decoration also require further scholarly attention. This article proposes a new view of the mausoleum’s decorative aesthetic and contributes to our understanding of the Ilkhanid architectural legacy. The article argues that, rather than being a haphazard application, the aesthetic characteristics of Pir-i Bakran’s revetments were determined by multiple undertakings executed according to specific decorative principles. Moreover, the mausoleum’s decorative program illustrates a rapid change in Ilkhanid decorative principles and aesthetics. I also propose a hypothetical timeline of mausoleum’s constructive and decorative undertakings, and reconsider its function and political significance.

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Mleziva, Jindřich. "Asijské umění a umělecké řemeslo ve sbírce Západočeského muzea v Plzni." Muzeum Muzejní a vlastivedná práce 57, no. 1 (2020): 3–14. http://dx.doi.org/10.37520/mmvp.2019.002.

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The collection of the West Bohemian Museum in Pilsen includes significant examples of artworks and decorative arts from Asia. The history of this collection dates back to the last quarter of the 19th century, when these items were a part of a collection of the West Bohemian Museum of Decorative Arts in Pilsen. The first director of the museum, architect Josef Škorpil (1856–1931), contributed to the creation of the decorative arts collection and the acquisition of objects from the Far and Middle East. Thanks to its acquisition activities throughout Europe, a significant decorative arts collection was established in Pilsen. Its importance goes beyond the Pilsen region. The concept of creating this collection was in accordance with the emergence of decorative arts museums in Europe. The collection, together with the Asian objects, was presented to the public as a part of an exposition opened in 1913. Today, the Asian collection consists of Chinese and Korean objects, mainly ceramics and porcelain, as well as exceptionally well-preserved textiles from the late Qing Dynasty. The Japanese portable Buddhist altar zushi or a set of Japanese woodblock prints of the ukiyo-e style are among the most unique acquisitions. A relatively modest set of items from the Middle East includes typical examples of decorative arts from Iran, Turkey or Syria. The objects are still a popular subject of research and have also become a part of the new decorative arts permanent exhibition of the museum that was opened in 2017.

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Leavitt, Jacqueline, Gael Ferguson, and Hemaleta C. Dandekar. "Building the New Zealand Dream." Journal of Architectural Education (1984-) 49, no. 3 (1996): 200. http://dx.doi.org/10.2307/1425330.

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Cordier, Sylvain. "The Bellangé Album and New Discoveries in French Nineteenth-Century Decorative Arts." Metropolitan Museum Journal 47 (January 2012): 119–47. http://dx.doi.org/10.1086/670144.

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Zhang, Jun Zi, Jia Xu, and Wan Dong Bai. "Furniture Design and Fractal Geometry - The Fractal Art in Traditional Furniture." Advanced Materials Research 933 (May 2014): 655–61. http://dx.doi.org/10.4028/www.scientific.net/amr.933.655.

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This article uses the shared "natural" property of the fractal geometry to analyze the style and decorative arts of traditional furniture so as to help furniture designers apply their new design approach to abroad practice of furniture design, which will develop a new field for creating new furniture forms and decorative patterns.

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Pearson, Sarina, and Shuchi Kothari. "Menus for a Multicultural New Zealand." Continuum 21, no. 1 (2007): 45–58. http://dx.doi.org/10.1080/10304310601103950.

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Halliday, Jessica. ""These depressed times": architectural and decorative strategies in Christchurch in the financially stringent years of the early 1890s." Architectural History Aotearoa 4 (October 31, 2007): 18–27. http://dx.doi.org/10.26686/aha.v4i0.6736.

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In 1893 The Press commended Charles Clark for his "energy and faith in the future of Christchurch" in commissioning Collins & Harman to design a new building in Cathedral Square in Christchurch "in these depressed times." The first half of the 1890s saw the continuation of the long depression that had marked New Zealand the previous decade. In contrast to the abounding intensity that can be inferred from the broad descriptions of New Zealand architecture at the end of the nineteenth century, architectural endeavours at this time were often constrained by limited opportunities and restricted budgets. This paper considers Christchurch architecture of the early 1890s in the context of these financially stringent years, examining most closely the practice of Armson, Collins & Harman.

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Swalwell, Melanie. "Introduction: ‘Asian’ Media arts in/and New Zealand." MEDIANZ: Media Studies Journal of Aotearoa New Zealand 9, no. 1 (2006): 1–2. http://dx.doi.org/10.11157/medianz-vol9iss1id83.

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Hong, Bev. "National cultural indicators in New Zealand." Cultural Trends 23, no. 2 (2014): 93–108. http://dx.doi.org/10.1080/09548963.2014.897450.

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Corballis, Richard, and Vernon Small. "New Zealand Cartoon Strips." Journal of Popular Culture 19, no. 2 (1985): 175–89. http://dx.doi.org/10.1111/j.0022-3840.1985.00175.x.

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Henriques, Frederico. "Restoration of an 18th century frame: 3D modelling, printing and matching color of decorative flowers elements." Ge-conservacion 18, no. 1 (2020): 313–22. http://dx.doi.org/10.37558/gec.v18i1.854.

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This paper describes the application of 3D digital technology to support the rebuild of lost decorative elements of an historical frame. The frame belongs to an 18th century painting depicting the portrait of D. José, Prince of Brazil, displayed at the National Palace of Queluz, Portugal. The application of digital technologies has been planned from the very beginning in order to avoid the traditional use of silicone in the reproduction of missing elements. The photogrammetric 3D acquisition, a non-contact methodology, has been used to reduce the manipulation and hence prevent further degradation of the artistic object. Following the 3D modelling operation, new decorative elements were made using an additive printing technology. In the final phase of the work, the post-printing treatment was carried out, in which aqueous products were used. 3D modelling, in addition to facilitate the restoration treatment of the historic frame, can also be useful in the creation of a digital collection of decorative frame elements, i.e. a virtual database.

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Səfxan qızı Məhərrəmova, Nigar. "History of Azerbaijani carpets with classical composition." SCIENTIFIC WORK 67, no. 06 (2021): 113–17. http://dx.doi.org/10.36719/2663-4619/67/113-117.

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Today, many artists and designers are creating new compositions, bringing a new look and a new breath to the art of decorative application, working on modern methods of combining the national traditions of Azerbaijan's classical carpet compositions. Unusual, beautiful and intricate national and sometimes abstract patterns that adorn Azerbaijani carpets are real works of decorative art. Azerbaijani carpets have been representing our rich historical past and national culture for centuries all over the world. At present, the main task of masters of decorative and applied arts, carpet artists and carpet designers is to create beautiful and perfect works, to create modern carpet compositions using national carpet traditions. Key words: carpet, artist, designer, modern, composition, abstract

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Peremyslov, I. A., and L. G. Peremyslova. "JAPANESE AESTHETICS IN MASTERPIECES OF AMERICAN SILVER." Arts education and science 1, no. 1 (2021): 89–96. http://dx.doi.org/10.36871/hon.202101010.

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Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany jewelry multinational company).

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Peremislov, I. A., and L. G. Peremislov. "JAPANESE AESTHETICS IN AMERICAN SILVER MASTERPIECES." Arts education and science 1, no. 2 (2021): 79–88. http://dx.doi.org/10.36871/hon.202102010.

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Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany & Co jewelry multinational company).

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20

Шмагало, Р. Т. "ДЕКОРАТИВНЕ МИСТЕЦТВО І ЕКО-ДИЗАЙН: ФІЛОСОФСЬКО-ОСВІТНІ ОСНОВИ РОЗВИТКУ І СУЧАСНІ ВИКЛИКИ". Art and Design, № 4 (15 лютого 2021): 185–94. http://dx.doi.org/10.30857/2617-0272.2020.4.15.

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Purpose. Identification and analysis of philosophical, educational and aesthetic foundations of the development of decorative and applied arts and design in the context of new socio-cultural challenges. Methodology. It is based on a systematic approach that synthesizes the methodological principles of related sciences: art history, philosophy, aesthetics, pedagogy with universal for these sciences methods of historical, typological and comparative analysis. Results. Basic philosophical and aesthetic origins of the phenomenon of decorative and applied art in the context of art and related design education, as well as the bank of basic ideas and principles of its progress in the time continuum are determined. There also have been traces social and cultural values acquired over the centuries, relevant for different historical periods and modern challenges, facing the art and education sphere. Scientific novelty. Determining of the philosophical and aesthetic principles of the functioning of decorative and applied arts in line with art and design education, its timeless universal social and cultural values. Practical significance. The research will contribute to the formation of a deep, philosophical and aesthetic level of worldview perception of the phenomenon of decorative and applied arts, art and design education, the development of guidelines for the implementation and design of new creative ideas in art, education and eco design

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Horrocks, Roger. "Conflicts and surprises in New Zealand television." Continuum 10, no. 1 (1996): 50–63. http://dx.doi.org/10.1080/10304319609365723.

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Leshchinskaia, N. M. "CULTURAL APPROACHES TO THE ANALYSIS OF WORKS OF DECORATIVE AND APPLIED ART." Northern Archives and Expeditions 5, no. 2 (2021): 9–15. http://dx.doi.org/10.31806/2542-1158-2021-5-2-9-15.

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The article examines the cultural approaches to the study of arts and crafts that exist in world science. Based on the analysis of foreign studies, it was revealed that it is especially promising and relevant to study the possibilities of selling works of decorative and applied art as a commodity. This approach reveals the problem of transforming works of decorative and applied art into souvenir products. In this case, the question of the dialectical relationship between form and content, between the preservation of traditions and the use of new opportunities in the creation of works of decorative and applied art, becomes important.

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23

East, Ali. "Sensuous interfaces – Dancing Anima in Aotearoa New Zealand." Journal of Dance & Somatic Practices 5, no. 1 (2013): 57–71. http://dx.doi.org/10.1386/jdsp.5.1.57_1.

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Woodham, J. M. "At Home: A Century of New Zealand Design." Journal of Design History 19, no. 2 (2006): 178–80. http://dx.doi.org/10.1093/jdh/epl006.

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Hazledine, Tim. "Arts funding in New Zealand: a proposal for reform." Cultural Trends 20, no. 1 (2011): 65–84. http://dx.doi.org/10.1080/09548963.2011.540814.

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Skilling, Peter. "Trajectories of Arts and Culture Policy in New Zealand." Australian Journal of Public Administration 64, no. 4 (2005): 20–31. http://dx.doi.org/10.1111/j.1467-8500.2005.00461a.x.

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Tsoumas, Johannis. "WHITE GOLD’ IN EARLY TO MID-EIGHTEENTH CENTURY VENICE AND FLORENCE: THE FIRST ITALIAN PORCELAIN FACTORIES AND THEIR HIGHLY COVETED PRODUCTION." ARTis ON, no. 1 (December 12, 2015): 6–16. http://dx.doi.org/10.37935/aion.v0i1.12.

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An inaccessible material both in terms of technology and manufacture for the aristocratic classes and the royal courts of Europe and especially for the prominent politically, socially and culturally Italy, porcelain was until the beginning of the eighteenth century an ‘impossible dream’ which only through a limited number of Chinese wares could be satisfied. However in the early highly decorative and playful Rococo period, its discovery in Germany inaugurated a new era in the European decorative arts. Hard-paste porcelain was soon introduced in Northern Italy and started being produced in the cities of Venice and Florence respectively creating a new order in the great historical field of ceramic arts. This initiated a long and, at the same time, glorious era for porcelain objects production throughout the country, many of which are now rare examples of a valuable heritage in the history of decorative arts worldwide. This paper aims to document clearly and methodically the historical value of these events, focusing on the two first Italian hard-paste porcelain factories development and stressing the significance of their rare products.

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Grant, Barry Keith. "New Zealand Film and Questions of Genre." Film International 6, no. 2 (2008): 14–22. http://dx.doi.org/10.1386/fiin.6.2.14.

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Bogaichuk, Lyudmila, and Zinaida Borysiuk. "Modern textiles and innovations in the training of future specialists in the sphere of decorative and applied arts." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2021, no. 2 (135) (2021): 34–42. http://dx.doi.org/10.24195/2617-6688-2021-2-5.

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The article presents some aspects of teaching and training future specialists in the sphere of decorative and applied arts alongside some issues devoted to the development of their opinion that modern artistic textiles are innovative means of decorative and applied arts and play a significant role in the development of creative competence of textile artists. The need to rethink the history of textiles in Ukraine and analyse the problems of its current artistic and industrial state, especially in the Southern regions, has been grounded. It has been proved that the role of artistic textiles, together with carpet weaving and batik, in the socio-cultural and economic development of Ukraine’s artistic space remains relevant today. Special attention is given to the genetic basis for using Ukrainian textiles (the spiritual component of the ornamental carpet) through the symbolism of which representatives of all segments of the population tried to identify with Ukraine, this basis being an integral component in the development process of the professional competence of future specialists in the sphere of decorative and applied arts. It has been substantiated that one cannot forget the ancient traditions of textile art; it is necessary to revive them in original modern forms, to promote the development of experimental tendencies, to work creatively with textiles while teaching the course "Decorative and Applied Arts", to show how promising it is in its artistic and cultural essence, to provide an analysis of the exhibition activity as a guarantee for the development of creative search, a stimulator to the creative activity of a future specialist in decorative and applied arts. The purpose of the article is to identify the interrelations and interactions of folk and professional art; to outline the role of profession-centred art education in the development of artistic textiles in Ukraine; to analyse experimental tendencies and concepts of Ukraine’s modern professional textiles. The conclusions state that the language and style of the Ukrainian textile art has always depended on traditions and national sources, as well as on the latest trends in Western European Art. The analysis of the existing methodological approaches to teaching future specialists in decorative and applied arts, aimed at searching for new methods of improving the quality of education, and developing their professional competence enables us to assess the idea of innovative learning, teaching and assessment in a new way. An important condition for successful training of future professionals in the sphere of decorative and applied arts is the development of their creative competence, which includes the ability to emotionally perceive the environment, to creatively transform it, the awareness of the culture of peoples and nations in different periods of society development, to master universal human values, including creative values, providing creative self-realisation and self-development.

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McLaren, Margaret C. "New Zealand and Australia." Business Communication Quarterly 61, no. 3 (1998): 119–27. http://dx.doi.org/10.1177/108056999806100317.

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Hazou, Rand T. "Performing manaaki and New Zealand refugee theatre." Research in Drama Education: The Journal of Applied Theatre and Performance 23, no. 2 (2018): 228–41. http://dx.doi.org/10.1080/13569783.2018.1440203.

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Molloy, Maureen. "Cutting-edge Nostalgia: New Zealand Fashion Design at the New Millennium." Fashion Theory 8, no. 4 (2004): 477–90. http://dx.doi.org/10.2752/136270404778051537.

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Schultz, Marianne. "‘Sons of the Empire’: Dance and the New Zealand Male." Dance Research 29, no. 1 (2011): 19–42. http://dx.doi.org/10.3366/drs.2011.0003.

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This article traces the journeys of dancing men from the stages of New Zealand to the stages of London during the twentieth century. The oft-repeated history of ‘the hard man’ of New Zealand who belonged to the ‘culture of imperial manliness’ is challenged by the stories of these men who, beginning in the 1920s with Jan Caryll, became professional dancers. I argue that within early twentieth-century New Zealand culture the opportunity existed for men and male bodies to be on display. The Maori haka, which featured men dancing in public exhibitions and ceremonies, had been seen by non-Maori (Pakeha) since first contact, while the emergence of body-building, beginning with the visit in 1902 of Eugen Sandow and a culture of sport, allowed men to be on show. Not least of all, tours to the antipodes of European dancers inspired young men to study ballet and contemporary dance. As a consequence, throughout the twentieth century New Zealand male dancers continued to arrive in London and contributed to both New Zealand and British dance histories.

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Farnsworth, John. "New Zealand advertising agencies: Professionalisation and cultural production." Continuum 10, no. 1 (1996): 136–51. http://dx.doi.org/10.1080/10304319609365729.

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Ward, Anthony, and John Hunt. "The Alternative Aotea Center Project, Auckland, New Zealand." Journal of Architectural Education (1984-) 41, no. 1 (1987): 34. http://dx.doi.org/10.2307/1424907.

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Lopesi, Lana. "Beyond Essentialism: Contemporary Moana Art from Aotearoa New Zealand." Afterall: A Journal of Art, Context and Enquiry 46 (September 2018): 106–15. http://dx.doi.org/10.1086/700252.

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Anderson, Atholl. "The chronology of colonization in New Zealand." Antiquity 65, no. 249 (1991): 767–95. http://dx.doi.org/10.1017/s0003598x00080510.

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New Zealand was the last substantial landmass to be colonized by prehistoric people. Even within Oceania, where there are much smaller and more remote islands, such as Pitcairn and Easter Island, New Zealand stands out as the last-settled archipelago. Its prehistory promises, therefore, better archaeological evidence concerning prehistoric colonization of pristine land-masses than is the case anywhere else, as is apparent in the extinction of megafauna (Anderson 1989a). But much depends on the precise antiquity of human colonization and this, following a long period of consensus, is now a matter of sharp debate.

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Wills, Rod. "Special Education 2000: a New Zealand experiment." International Journal of Inclusive Education 10, no. 2-3 (2006): 189–99. http://dx.doi.org/10.1080/13603110500296646.

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Carmichael, Gordon A. "Children and Divorce in New Zealand." Journal of Marriage and the Family 47, no. 1 (1985): 221. http://dx.doi.org/10.2307/352085.

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Lapsley, Hilary, and Sue Wilkinson. "Organizing Feminist Psychology in New Zealand." Feminism & Psychology 11, no. 3 (2001): 386–92. http://dx.doi.org/10.1177/0959353501011003009.

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Browne, Glenda. "Indexing in Australia and New Zealand." Indexer: The International Journal of Indexing 22, no. 3 (2001): 113. http://dx.doi.org/10.3828/indexer.2001.22.3.1.

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Bell, David. "Visual arts education in New Zealand: Curriculum, promise and challenge." Curriculum Matters 6 (June 1, 2010): 28–47. http://dx.doi.org/10.18296/cm.0123.

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Terreni, Lisa. "Visual Arts Education for Young Children In Aotearoa New Zealand." Journal of Childhood Studies 41, no. 4 (2017): 50. http://dx.doi.org/10.18357/jcs.v41i4.16718.

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<div class="page" title="Page 1"><div class="section"><div class="layoutArea"><div class="column"><p><span>Visual art education plays a significant role in fostering </span><span>young children’s learning, thinking, and communicating. </span><span>In New Zealand, approaches to early childhood visual </span><span>art education have developed in response to international educational theories and trends, which, over the years, have often resulted in changes to pedagogy and practice in this domain. Currently, the national early childhood curriculum Te </span><span>Whāriki includes references to visual art education in many </span><span>of its learning strands. Whilst the curriculum has a strong sociocultural orientation to learning and teaching, approaches to early childhood visual art education are diverse. A brief historical overview of early childhood visual arts education in </span><span>New Zealand is presented and, to conclude, three examples of </span><span>current, innovative art projects are discussed. </span></p></div></div></div></div>

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Lambert, Anthony. "Migrant and diasporic film and filmmaking in New Zealand." Studies in Australasian Cinema 13, no. 2-3 (2019): 83–85. http://dx.doi.org/10.1080/17503175.2019.1700010.

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Kim, Rina. "A Postgraduate Beckett Production at Auckland, New Zealand." Journal of Beckett Studies 29, no. 1 (2020): 108–11. http://dx.doi.org/10.3366/jobs.2020.0294.

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Berger, Daniel, Katja Hunger, Sabine Bolliger-Schreyer, et al. "New insights into early bronze age damascene technique north of the alps." Antiquaries Journal 93 (June 4, 2013): 25–53. http://dx.doi.org/10.1017/s0003581513000012.

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Damascening, defined in this context as the inlay of one metal into a different metal base, is a rare decorative technique in the Early Bronze Age, known only from seven bronze artefacts found north of the Alps. This paper reports on the first thorough scientific examination of one such find, the axe from Thun-Renzenbühl grave no. 1. This interdisciplinary project involving several institutions in Germany and Switzerland investigated the axe by means of neutron radiographic imaging and X-ray microprobe methods, supported by microscopic examination. The result is an attempt to reconstruct the fabrication and decoration process and to reconsider the enigmatic question of the origins of the damascene technique north of the Alps.

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North, Susan. "Indian Gowns and Banyans — New Evidence and Perspectives." Costume 54, no. 1 (2020): 30–55. http://dx.doi.org/10.3366/cost.2020.0142.

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Online sources, new publications and the discovery of more surviving garments add further detail and evidence for the introduction to seventeenth-century England of a new style of night gown influenced by Japanese dress, and its development through the eighteenth century. Recent literature on global trade in the decorative arts highlights the banyan as one of its key examples. Viewing Indian gowns and banyans from this perspective gives them a new context, and the examination of garments and related documents allows a refinement of the principles of the global exchange of material culture. 1

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Goodrum, Alison L. "Exhibition Review: The First New Zealand Fashion Week Exhibition." Fashion Theory 8, no. 1 (2004): 99–104. http://dx.doi.org/10.2752/136270404778051825.

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Moewaka Barnes, Helen, E. Eich, and S. Yessilth. "Colonization, whenua and capitalism: experiences from Aotearoa New Zealand." Continuum 32, no. 6 (2018): 685–97. http://dx.doi.org/10.1080/10304312.2018.1525918.

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Richards, Harriette. "Practices of cultural collectivity: Style activism, Miromoda and Māori fashion in Aotearoa New Zealand." Critical Studies in Fashion & Beauty 12, no. 1 (2021): 131–49. http://dx.doi.org/10.1386/csfb_00024_1.

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Familiar narratives of fashion history in Aotearoa New Zealand recount the successes of Pākehā (New Zealand European) designers who have forged a distinctive fashion industry at the edge of the world. This narrative overlooks the history of Māori fashion cultures, including the role of ‘style activism’ enacted by political figures such as Whetu Tirikatene-Sullivan and collectives such as the Pacific Sisters who advanced the status of Māori and Pasifika design in the twentieth century. It also ignores the changing nature of the New Zealand fashion industry today. One of the most significant recent initiatives to alter perceptions of fashion in Aotearoa New Zealand has been Miromoda, the Indigenous Māori Fashion Apparel Board (IMFAB), established in 2008. By championing the work of Māori fashion designers and prioritizing the values of te ao Māori (the Māori world-view), Miromoda is successfully contributing to the ‘decolonization’ of the New Zealand fashion industry. This article foregrounds practices of cultural collectivity, including that of style activists such as Tirikatene-Sullivan and the Pacific Sisters, and Māori fashion designers such as Kiri Nathan, Tessa Lont (Lontessa) and Bobby Campbell Luke (Campbell Luke), to explore the expansion of a more affirmative fashion future in Aotearoa New Zealand.

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Journal articles on the topic 'New Zealand Decorative arts'

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