World of Wearable Art: Wardrobe Manager Leonie Trathen On 35 years Of ‘Organised Chaos’ & Community

What it’s really like backstage at Wellington’s World of Wearable Art.

When Leonie Trathen first modelled for World of Wearable Art (WOW) in 1990, she was pregnant with her now 35-year-old son.

Now wardrobe and activations manager for the design competition, she can trace her decades-long journey back to a simple question: “How can I help?”

Amid her modelling stint, she noticed Heather Palmer, co-owner with and sister of WOW founder Dame Suzie Moncrieff, was “incredibly busy backstage”.

“Back then, we were all voluntary and it ran on the smell of an oily rag,” Leonie says.

“I just said, ‘How can I help?’ and she said, ‘Can you look after hair and makeup?’ So, I supervised that, and that led to all these different roles over the years.”

That willingness to help is “at the core” of WOW’s identity and ongoing success in 2025, she says.

“It’s a massive, big family and you do what you can do, you roll your sleeves up to help where you can... it’s the community that brings it together. We had incredible community support.

She says of Heather: “I was incredibly lucky to have such an amazing mentor, and I’ve really tried to embody the way she was – her care of the garments, the designers, and the cast.

“And I’m lucky that I had that start. I mean, I’ve fallen into this. It wasn’t my training, but once I was there, that was it. It was a part-time role to a contract role to permanent employment that still gives me so much joy.”

These days, her role is multifaceted. “Through the show season, I manage the wardrobe department, which are the garments that are entered into the competition.

“Outside of the show, I am working on activations – so anything that is small live performances. These may be smaller or larger events and we incorporate a small taste of WOW."

Then there’s finding the right models to showcase the designs during the annual show, which differs from traditional modelling in several respects.

“Each year the garments entered in the competition are really unique, so bringing them to life on stage requires a fresh and tailored approach,” Leonie says.

“Some designers present a specific aesthetic that they’re looking for, and it’s up to Malia [Johnston, the show’s director] and I to keep that in mind and identify who would be an individual to elevate each creation to its fullest potential.

“So, we’re always looking for people that are confident, dynamic performers, strong movers, someone who is capable to bring each and every garment to life. It’s not just like putting on a beautiful garment and strutting a catwalk – each entry is individually choreographed.”

“Some are heavy, have multiple components, or may be constructed out of latex, which requires a lot of time to get into and out of.

“With around 100 individual garments we would never logistically be able to have a different model for every garment backstage, so models are generally wearing between three and seven garments – but they may also be involved in other performance elements of the show.”

The audience sees an expertly orchestrated performance, but what’s it really like backstage? According to Leonie, it’s “organised chaos”.

“We’re incredibly well rehearsed, every move is choreographed on stage and backstage, but there’s always going to be those things that pop up unexpectedly. You’re rehearsing with that in mind. But it’s also choreography backstage – it’s a show behind the show.”

The pride she feels in seeing the performances each year “never gets old”, she says.

“It’s those absolutely incredible, proud moments when you’ve seen that performer come through an audition, nervous, but you know that there’s something really special within them, seeing them grow within the rehearsal period and then the joy that they get.

“On the other side of that, it’s the designers, when the designers see their garment come to life on stage – and the pure joy from them.”

Amid 35 years of memories, it’s “impossible to pick a single favourite”, she says.

“I suppose what resonates with me are the stories that come with every piece, because when a designer enters a garment, they do a story and an inspiration. They could be rooted in personal struggles, or it could be the innovative materials that they’ve used, or it’s the incredible craftsmanship.”

As for what audiences can look forward to in this year’s show, Leonie says they can “expect the unexpected”.

“Absolutely expect an uplifting celebration of 20 years in Wellington.

“Whether it’s people coming to see the show or whether it’s people that are working behind the scenes or on stage, Wellington has really become an integral part in your awe-inspiring show.”

What’s the secret to WOW’s enduring appeal? Leonie suggests it’s because it offers “something for everyone”, no matter where in the audience they sit.

“What you see up close and what you see from a distance are completely different. Up close, you’re seeing the craftsmanship and the workmanship of the garments or the costumes, but then from a distance you’re seeing the whole show develop.

“People enjoy the dynamic performances, all the specialised talent, the immersive AV, lighting, costumes, props. It’s a collaborative and creative vision, really.”

This year’s World of Wearable Art runs from September 18 to October 5 at TSB Arena in Wellington.

More on World of Wearable Art

Looking back at the winning designs from previous years, and what to expect at WOW 2025.

My Town: Jimmy D Designer James Dobson’s Favourite Places in Wellington. How moving to the capital inspired his creativity.

All The Winners From The World of Wearable Art Awards 2018. A look back at the showstopping entries.

From Vegas to WOW: The Creative Force Behind New Zealand’s Most Dazzling Stage Show. Executive creative director Brian Burke on what to expect this year.

Inside the World of Wearable Art Awards 2015. Writer Rebecca Barry Hill discovers ‘mind-boggling creativity on display’ at WOW.