Have you been to an orchestra gig lately? If you have, you probably haven’t thought very much about what the performers are wearing. It’s not the point of most gigs; the point is to listen. Fashion can be a distraction.
That’s not the case with an NZTrio show. The moment they walk onstage; you know you’re meant to be paying attention. It is vibrant, it is full of character, and more than anything else? It is noticeable but pointedly not a distraction.
The group has performed for 20 years now, and has been described as “New Zealand’s most indispensable ensemble” who are widening the frame of what classical music in performance can be. Part of frame-widening includes their approach to the visual amongst the aural; it is as much a pleasure to watch an NZTrio performance as it is to listen to.
Ashley Brown (cello, co-founder) explains that everything is part of the audience’s experience when they come into any gig, not just a NZTrio gig.
“There’s all kinds of elements that colour your sense of what to expect before you buy a ticket,” he says “NZTrio has built up a reputation, mainly around our repertoire and how we perform. It’s adventurous, it’s interesting, it’s innovative.
“The aim with our fashion choices is to totally feed into that.”
Amalia Hall (violin) also believes that audiences listen with their eyes. “The first impression the audience has of the musicians as they walk onstage is the way we visually present ourselves,” she says. “We can really challenge people’s expectations and influence that initial moment of evaluation.
“I also really love to coordinate my clothing with the music, to add another element of interpretation and connection between myself, the composer, the other musicians on stage, and the aesthetics of the concert venue and lighting.”
Similar to their proud support of other New Zealand music – featuring at least one New Zealand composition in every concert throughout their history – they are also supporters of New Zealand fashion. “We’ve tried to find clothes that added to the vibe of something slightly fresh, slightly out of the ordinary,” he says. “A little bit brave potentially! Adventurous. Contemporary.”
Brown points to the ensemble forming a relationship with World, as it was a brand that matched their own philosophy. “World was a New Zealand brand with clean, clear lines and classic silhouettes, but also something a little bit crazy, with patterns on top of each other or wild colours,” he says.
In his offstage life, Brown actually wears a lot of World, and finds that he likes the change of body language he gets from people who might be startled by his fashion choices. “People seem to examine their own response. ‘Why am I startled by this? It’s a bright colour than I’m used to!’ And then people get over it pretty quickly.
“That’s what I want from our music as well.”
Hall, on the other hand, has been an avid op-shopper since she was a teenager, and a lot of her performance wear has been picked up from all around the country. She also loves to buy gowns when she travels to different countries, as practical souvenirs (the concept of a gown as a practical souvenir? Aspirational!).
Not only does performance wear for classical music have to often adhere to a certain look – often all in black, the women in blouses and gowns, men in shirts, bowties and jackets – but it has to be practical to perform in. It sits in the nexus between appropriate presentation onstage and athletic gear.
“What we’re doing are very, very fine muscular movements, and also quite large muscular movements,” Brown explains. “We also get incredibly hot!”
The practical element of performance wear is also very much a conscious thought for Hall. For example, she can’t wear anything that would interfere with where she places her violin – between her collarbone and chin – so she has to be mindful of anything around her neckline such as collars, sequins, large necklaces or dangly earrings.
“Ideally my violin rests on bare skin on my collar bone, or at least a thin fabric,” she says. “I need to have my arms free as they have to move rather vigorously when I play, so usually my tops are either strapless, halter neck or have spaghetti straps.”
“It has to be really secure and to move with me, so that it isn’t on my mind while I play.”
However, even with practicalities, she likes to go “full-glam” with elements of sparkles to catch the light. For solo concertos she wears floor-length gowns, whereas for NZTrio performances she wears edgier outfits, and even sky-heel highs.
Brown mentions that eventually they’d like to collaborate with a designer. “We could take care of the music side, but visually we could hand it over to a designer and see what happens. Maybe it’s wearing all of their label. Maybe they come to it as an artist and go, ‘I reckon you’d look great in this.’”
“In that way, the audience could be let into another artistic process that runs alongside what we’re doing with sound, with music. They can experience a parallel visual journey through the fashion.”
• NZTrio is on tour throughout October, November and December, and will perform at Womad on March 14-16, 2025. See tour dates, and buy tickets to see them perform, here.
