The unique collection of garments curated by Eden Hore in Central Otago blends high fashion with rural life, showcasing individuality and a pioneering spirit.

Pauline Kingston’s handspun, hand-dyed, and hand-woven hostess outfit from the early 1970s is among the notable pieces showcased in “Central Otago Couture: The Eden Hore Collection,” which reflects a unique blend of fashion history and local culture. Eden Hore, a farmer and war veteran, carved out an unconventional legacy on his livestock farm in Central Otago, New Zealand. In a time when high fashion was rarely associated with rural life, Hore began curating an impressive collection of garments that would soon become recognized as one of the most significant fashion collections in Australasia.

Hore, who passed away in 1997, gained notoriety in the 1970s for his eclectic taste, acquiring gowns adorned with sequins and tulle, which clashed vividly with the agricultural landscapes typically associated with the region. “I’ve always been a bit different. A bachelor with all these dresses,” he once remarked, highlighting his individuality in a world where such interests were not commonplace for men.

In 1975, Hore transformed a tractor shed on his 8,100-hectare farm into a makeshift fashion museum, reflecting a pioneering spirit that extended beyond his fashion endeavors. His niece, Jo Dowling, noted that Hore was one of the first in his locality to adopt methods such as aerial top dressing on his farm, capturing wild deer for his livestock, and offering farm tours. Dowling emphasized his uniqueness, recounting how some family members were astonished by his collection of dresses, which diverged from traditional masculine activities.

The garments in Hore’s collection range from sheer fabrics to bold sequins, reflecting his appreciation for distinctive textiles. Dress historian Jane Malthus, who co-authored the book “Central Otago Couture,” described Hore as a man driven by his vision, regardless of public sentiment. “He didn’t care what other people thought of him. He was willing to stand out in the crowd,” she said. Claire Regnault, senior curator at the Museum of New Zealand Te Papa Tongarewa and co-author of the same book, noted Hore’s confidence to embrace individualism at a time when such expressions were rare.

Eden Hore was born in Naseby in Central Otago in 1919 and, after leaving school at 13, spent years in farming before serving in World War II. After the war, he purchased his farm, Glenshee, where he cultivated both sheep and cattle. Despite facing personal tragedies, including the death of his adopted daughter, Hore remained dedicated to his work—famously claiming to have once operated a tractor for an astounding 22 hours straight.

His couture collection grew out of a desire to explore what could be created from farm materials like wool and animal skins. A striking example includes a mid-1970s sheep leather pantsuit, embodying Honda’s innovative approach to integrating rustic fibers into high fashion.

Upon his death, Hore left his collection to his nephew, and in 2013, the Central Otago District Council acquired 226 garments and related accessories for $40,000, preserving Hore’s vision for posterity. Regnault remarked on the unifying theme of Hore’s collection, which showcases striking fabrics and bold colors, saying, “They’re very characterful clothes. As soon as you see them you can imagine a story, a fantasy around them.”

Hore also embraced rural tourism, hosting garden parties and fashion shows to support local charities. His efforts were a response to his community’s evolving landscape, especially after a railway bypass reduced local traffic. Beyond garments, he collected unique items, including taxidermied animals and ceramic decanters, fostering a sense of whimsy.

“Eden was trying to create something magical in this country at the bottom of the world,” Regnault concluded, encapsulating the essence of a man who sought to break boundaries while contributing positively to his community’s identity and cultural fabric.

Source: Noah Wire Services