The forecast is for fine weather but over in the farthest reaches of Mt Eden, a quiet storm was brewing. Over a thousand people were crowded into three sides of a concrete square, inside the almost pitch black Powerstation, the former rock venue on Mt Eden Road. And then, the rain began to fall inside.
Well, the rain on the soundtrack did anyway, as panels of fluorescent lighting flickered on and off. The first outfits appeared, like grey clouds on the horizon, and almost at once you could tell there was something unusual going on here.
The first dress was a rigid shift, with sleeves that appeared to zip off in sections, it was followed by garments in stiff bottle green silk satin and by the time the rather beautiful, transparent hoop skirts - yes, people, you heard right, hoop skirts - had appeared, it was clear that Zambesi were doing something different.
In the recent past this label, which one should always remember has been around for over 25 years, has been popular for a loose but carefully considered silhouette, flowing tunics, wraps and dresses in silk chiffon and crepe that suited everyone and exuded a subtle, intellectual glamour. There was barely a garment like this to be seen on tonight's runway.
Stiff linen and leather cowls sat over perfectly tailored dip-dyed shirts and grey jackets, the outlines of a duffel coat were lightly traced on long hooded, wool tabard, and silver jackets and shirts - so shiny they looked like they'd been made out of foil - appeared like lightning in the gloom.
More than anything, the overall effect was sculptural; Zambesi had made a statue out of their storm.
For female admirers of the label, this means they'll be doing a sort of artistic version of power dressing.
There were some beautiful dresses - a frock made from tiers of black tassels over a satin brocade, a transparent black shift with a cross of dark sequins dominating the front and a white slip dress that could easily have come from previous collections.
But they looked positively wussy in comparison to the breathtaking Bauhaus-style architecture of a figure hugging frock made from panels, snow white at the front and dramatically, pitch black at the back.
For male admirers of the label, the silhouette is definitely broader.
Those guys out there who don't happen to be skinny indie boys will be pleased to know that Zambesi's menswear silhouette has loosened up, suit pants and jackets are slightly roomier and the coats should go on your shopping list immediately.
Other elements worthy of attention were the colours that snuck into the otherwise stormy palette of greys - a smudgy bright teal and caramel check, as well as coppers, greens and other earthy tones.
So why this change? It's hard to say. But when you know that the label's former creative director, Tulia Wilson, departed to live in Australia recently and when menswear designer, Dayne Johnston, says he worked more closely with head designer Elisabeth Findlay on this collection than ever before, maybe this explains the more sculptural, almost masculine at times, feeling about these clothes.
The collection is also less trend-focused and, depending on your point of view, that makes it either more intellectually demanding and more interesting, or harder to wear and understand.
This may also be why, by the end of the show, even though tension had built up, this particular storm had not broken - and some viewers said they were left feeling a little empty.
You can understand why. There was something of an unexpected change of direction, a slightly different feeling to the clothes and the overall mood of the collection may have disappointed the more girlie dressers in the audience.
But in other ways, this departure really made everyone think. And that's what the best art should do.
Jenny and Nick Clegg have been going at it for seven years now and they're responsible parents after all. So the For Good addition to the stable of labels - Federation and babywear range Minti - supposedly captures that.
It's a case of "Sunday best" really.
After the week in what the Cleggs call "high street" the idea is to step out in high skater chic. This consists of a very cute plaid cape with a hit of orange for interest's sake if you're a girl, and a couple of awkward suits if you're a boy.
Other occasion pieces include a hooded leather bomber and - here's a Fashion Week first - MC Hammer-style knee-length shorts.
It all looked a bit teenage rebellion, but US journalist Christopher Blomquist was much more enthusiastic marvelling at how the label had matured but maintained the "cool without pushing it" ethos he's admired on previous visits.
He also found the graphics "high amusing". So did we. The budgie with chain necklace, the dogs with Mickey Mouse ears and the sunglass-wearing cat playing the keyboard had a lovely innocence about it.
Liked the word Federation repeated again and again in V-neck jumpers.
Seventies jocks would have enjoyed pulling on the grey marle trackie pants, but would they have mixed them with a mesh knit singlet?
Trelise Cooper: 8.10pm
Within the space of twenty minutes Trelise Cooper took us on a wee trip around the world - from the neon bright clubs of London to the frilly boudoirs of Paris to the gardens of Cambridge, England for some rosettes and then finally to a whole bunch of bead, sparkle and sequin factories in India.
And along the way she managed to lose the frilly milk maid persona who has been stalking the label almost since its inception.
Basically this well edited collection (this show was shorter and far simpler than Cooper's past shows) consisted mainly of relatively simple shapes - coats, dresses, skirts. The main emphasis was on the decoration and colour.
The first part of the show focused on Cooper, the collection the designer puts together for a more youthful customer.
The main focus here was on bold colours and prints. In fact, towards the end of the section, the colours grew so bright, the fashionable front row were tempted to do an uncool Anna Wintour and wear their sunglasses at night.
A glowing yellow and screaming candy pink went together with orange stockings and sparkling heels.
Bright floral prints literally flamed down the runway yet, if you took the glowing accessories away, remained wearable.
And then the curtain that had been sitting over an improvised, gold framed stage, rose to reveal models in over-the-top hats and various states of pseudo-couture.
It resembled a tableau created by some couture designer, or maybe the set of a Christina Aguilera video.
And then came the principle collection from the well loved label.
Legions of Cooper's adoring fans will not be disappointed. And that's despite the fact that she has streamlined her silhouettes and been far more judicious with her trimmings.
Even - quelle surprise! - subtle, with some of the beading, embroidery, pin tucks, rosettes, crystals, ribbons and sparkly butterflies she loves too much sometimes.
All of this, her fans will be overjoyed to know, actually makes her clothes so much more modern and wearable.
And for those who still prefer their Trelise Cooper with lashings of creamy ruffles, there was still plenty with which one could make an over-the-top statement. A crimson jacket completely covered in what looks like mirrored tiles, anyone?
By the end of the show you realised that Cooper had done more than taken you on a trip around the world.
Like some golden haired fairy godmother, she had also sprinkled her sparkles over a variety of other trends, such as sportswear - almost everyone loved the lime green parka with ribbon ties - ladylike dressing and the semi-couture looks that the likes of British uber-designer John Galliano is popularising.
Serdoun, 6.00pm
: Conservative dressers, you have been warned. The future of fashion is now and this first solo show by Serdoun is advance warning of its arrival.
On international runways designers have been experimenting with fabric more than ever. They've left off cobbling together various bits of vintage garments and have started really playing with pattern making, exaggerating proportions, and adding or subtracting elements in unexpected places.
And now this movement has spread to mainstream fashion. And we know this because even relatively conservative labels like Serdoun seem to be working harder to make the classic with a twist they do regularly, just that little bit more twisted.
Designer Alissa Serdoun, who showed as part of a group show last Fashion Week, did this with things like a cardigan with tails, a jacket that fastens on an angle and sleeves that puff up unnaturally. And you know that if Serdoun can do the twist, a legion of other labels will soon be dancing to that tune too.
@emgirl and Petrena, 5.40pm:
It seems strange to start the review of one label with praise for another. But hey, Dunedin label Nom*D makes deconstruction and layering, androgyny and street fashion, look so very easy. And judging from the show that has just surprised everyone this afternoon - and we don't mean in a good way - doing what Nom*D do, is actually a lot harder than it looks.
Because at the debut show for the brand new, strangely named, Wellington-based label @emgirl there were military stylings, buckles, belts, distressed fabrics, fusions of different garments, drawstrings and interesting paneling. The girls even came out looking sulky in combat boots, faces hidden by hoods.
One can only assume that it was all an homage to the Dunedin-based label on their 21st birthday. Where @emgirl (in case youre confused, you say it "at-em-girl") varied was in the bottoms department baggy pants, verging on MC Hammer proportions, in grey wool, with drawstrings in the bottom appeared several times.
This label is, as designer Petrena Miller explained in a short introductory video, "the urban, edgy, sassy, sexy" offshoot of her established, eponymous label, directed at younger clients.
And considering Miller's normal, fairly conservative style, it all seemed a little bizarre.
OK, so it seems cruel to be criticizing a local label for taking a risk with a whole new look - I mean, good on them in many ways - but you've also got to wonder whether this new aesthetic came naturally to Miller or whether she just thought she might take a well thumbed leaf from the style bibles of some of the country's younger, less conservative labels.
In conclusion, three very important questions are still rattling around in the well coiffed heads of shocked fashion editors everywhere: will Miller's more conservative customers be expected to wear this stuff? Will their daughters? Will her best buddy, Lorraine Downes be clad in mashed up, grey wool and Doc Martens next time we see her? And does the nation really need another Nom*D when the first ones pretty damn good already?
The next section of the show, comprised of Miller's own label, wasn't immune to this new experimental phase. Once again, the designer had a little play with deconstruction techniques. There were irregular panels of wool in skirts and jackets, gathering in unexpected places and loops of fabric. Miller also made much of cottons shot through with metallic threads and coated cottons and the label's admirers will certainly stand out, should they choose a colourful, satiny checked tail coat and three-quarter length pant or a long gown in a bold black and red print.
It was particularly well set for the first model to emerge from behind two big Asian fans she was wielding. Crikey dick! There was Geeling Ng, the New Zealand model-slash-actress who appeared, complete with naked buttocks, in the video for that song back in the 80s.
Happily, Ng was dressed this afternoon and in rather a glam dress - a floor length, burgundy frock featuring a fan of fabric across her chest.
But the song was about more than just the woman who'd once excited tabloid headlines and all sorts of idle speculation about her relationship with the musical legend.
and that was what Stretton's clothes were about as well.
Although occasionally Stretton still mixes and matches elements that would not generally be considered complimentary - some of the lace wrap dresses, slit to the thigh might be best left in the bed- and bathroom - she has certainly lost the raggy details, fishtail skirts and over embellished outfits of the recent past.
It seems this popular designer is focusing more on shape and design, with some interesting details that went with the
Stretton fans will enjoy the fan motif that reappeared more than once - structured fan folds on the bodices, the semi-circular, fan-shaped pockets (although you probably wouldn't want to put any coins in them) and the nice, if fairly obvious, kimono wrap tops.
Disco queen alert:
A silver pinstriped halterneck, all in one. Or the gold threaded top under a beige catsuit in crushed satin. Grrrr!
Belly dancing alert:
Baggy trousers with drawstrings at the hem and a heavy curtain of fabric falling over one side.
It started with a giant chair and it ended with a pair of mutant scissors. And in between the fairy tale references, some of this country's potentially most promising young labels showed us what they were made off.
First off, Chelsea Thorpe demonstrated how to do beautiful and plain in only three colours - blush, grey and dark lavender - without being boring.
She also showed how to work a theme - hers was the story of
Thumbelina
, by Hans Christian Anderson, about a beautiful, miniature girl who emerged from inside a flower bud - while staying subtle and true to her own style.
The collection included elements straight out of a fairy tale - garments like an oversized wool cape, a floor-length dress that Snow White would adore, delicate black and white flowers and gorgeous oversized, puffs of sleeves that dwarfed the rest of an otherwise plain silk chiffon dress.
Overall the effect was of a languid stroll in a springtime garden, where instead of finding a small girl hiding in the flowers, you find some delicate and eminently wearable frocks.
Far more tough and streetwise was the Cinderella of the group, Salasai.
Kirsha Witcher, resident of Hawkes Bay and formerly of Mooks, designs this range and her inspiration was women in work clothes; the collection was called Domestic Maid in Waiting.
Most exciting, Witcher is the first designer at Fashion Week to have shown trousers more in line with international trends - there were jodhpur shapes as well as pleated fronts and elegantly gathered bottoms.
The jodhpur look was also cleverly applied to a mini skirt in a funky signature print, a loose check in blue, red, mustard and black.
Witcher takes a risk with her pattern cutting and detailing and then applies the lot to a range of smart-ass streetwear, with just the right balance of casual, retro, on-trend and fashion forward.
The wildest of the group was designer Jaeha-Alex Kim who went art-school crazy with layers of fabrics, oversized woolly looks and zips everywhere - not to mention the props he made; scissor-covered gloves inspired by fantasy-horror film,
Edward Scissorhands
.
Apparently the whole thing was about being tough on the outside and soft on the inside and models arrived wearing fetish boots and other hard edged accessories (stylist Dan Ahwa deserves a credit for these great looks).
Meanwhile there were times when Jaeha's work had fashion editors in the front row pausing, unable to draw the complicated layers of fabrics and pausing to wonder how the hell he'd put that thing together.
Certainly interesting on the runway but would he be able to supply that exact look to retailers?
Westfield Style Pasifika: 11.50am
The Style Pasifika show is a break from Planet Fashion, bringing a colourful costume display of bright breezy looks shown to some smooth grooves. This year there was less of the cultural component, which was a shame as it's a crowd pleaser.
First up was Charmaine Love of Cambo shirt fame, still working the Fergie dress look. You know, the koru-print asymmetric number worn by The Black Eyed Peas singer a few years back. Love's designs are variations on a theme, but this year she tried a few other options of teal handkerchief dresses embossed with Maori designs and some grey suiting with a fringed hem evocative of the Maori cloak worn by the soulful singer who crooned through the show. Less successful were the skintight satin skinny pants with sequin back pockets and apron halter tops that looked, well a bit like Fergie after a hard night.
Next up were some highlights from the annual Style Pasifika competition, working those Pacific themes into wearable art. Liked the pink raffia dress and the winning entry recycling cheesy old tourist photos onto towelling dresses.
The final show was from Mena, a family affair who make holiday friendly sundresses out of brilliantly coloured cotton and satin tropical prints.
