New AirNZ Uniform
Join Date: Feb 2000
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....and to add insult to injury..the bloody things are made in china(partly)...what parts ..who cares......looks like the outsourcing bug has reached all facets of AirNZ.....from uniforms to Engines....absolutely pathetic...but then it should come as no surprise
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Join Date: Oct 2005
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Yes its true over 80% of the paints went back, the fit is still terrible (wedgey factor) all day!
Poorly made, poorly thought of in design and bloody ugly.
All this for what?????????????? could have saved the money and some engineers jobs in the process
Poorly made, poorly thought of in design and bloody ugly.
All this for what?????????????? could have saved the money and some engineers jobs in the process
Join Date: Jul 2000
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Originally Posted by Hanz Blix
Yes its true over 80% of the paints went back, the fit is still terrible (wedgey factor) all day!
All this for what?????????????? could have saved the money and some engineers jobs in the process
Without the jacket on, tech crew now look like prison warders, MAF, DOC or army personnel, take your pick, certainly not like tech crew.
Tinpis
Zambesi could take a few pointers from your pic!!!!
Join Date: Jun 2003
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It was 14 years ago when the uniform was last replaced. Wonder how long we'll get out of this one. Must admit though, on a nicely assembled (female) hostie, that gear looks foxy as.
MAPt
MAPt
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Standby just digging the paints out of my a>>>>>>>>>>> Yip they are 100% Marino wool made in china
Ah yes MAPt you are correct it does look good and maybe worth the wedgey factor just to continue viewing
Yip they are 100% Marino wool made in china Ah yes MAPt you are correct it does look good and maybe worth the wedgey factor just to continue viewing
Join Date: Jan 2006
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The new uniforms look great, on the right people. Unfortunately most of the female cabin crew haven't had the chance to have their uniforms tailored as yet, so they are hanging like sacks ... but the ones that I have seen tailored look gorgeous. Zambesi were intentionally going for a "timeless Thunderbirds" look ... hence the pointy airforce style hat and black knee high boots.
The men's CC uniform looks absolutely awesome ... very sexy ... but again only when it's tailored. From what I have seen so far of the female CC uniform it looks awesome if it's the pants and fitted blouse combo with the blazer, or the fitted blouse, skirt, blazer and sexy black knee high boots combo. I am yet to see the dress look good on anyone ... although I imagine it would look sensational on a sexy hour glass figure if it was more fitted!
The female Pilot uniform is gorgeous. It does NOT have a skirt option, purely for safety reasons, but it does offer very stylish fitted trousers, sexy fitted tailored blouse and tailored jacket. It's very feminine and stylish and the pilots that I have seen so far look sensational in it. The new male Pilot uniform is absolutely gorgeous. The men looks very handsome. Although, those with a few extra pounds tend to stand out a little more in their new shirts shirts!! LOL!
The men's CC uniform looks absolutely awesome ... very sexy ... but again only when it's tailored. From what I have seen so far of the female CC uniform it looks awesome if it's the pants and fitted blouse combo with the blazer, or the fitted blouse, skirt, blazer and sexy black knee high boots combo. I am yet to see the dress look good on anyone ... although I imagine it would look sensational on a sexy hour glass figure if it was more fitted!
The female Pilot uniform is gorgeous. It does NOT have a skirt option, purely for safety reasons, but it does offer very stylish fitted trousers, sexy fitted tailored blouse and tailored jacket. It's very feminine and stylish and the pilots that I have seen so far look sensational in it. The new male Pilot uniform is absolutely gorgeous. The men looks very handsome. Although, those with a few extra pounds tend to stand out a little more in their new shirts shirts!! LOL!
Join Date: Apr 2006
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One of the most distinctive features of visual culture during postmodern times is the disaggregation and heteroglossia of dress codes and styles. The wide range and quality of fabrics, trims, colors, silhouettes, and particularly stylistic modes as well as the broad array of accessories spanning the spectrum from footwear and headdress to jewelry and hair style display an unprecedented openness and fragmentation in the history of post-Enlightenment Western clothing conventions. This is not to deny the existence of a fashion system complete with highly articulated rules and codes against which innovation, convention-breaking, revolt, reinflection, contradiction, and pluralization take place. Within the field of cultural studies these and related propositions are illustrated most memorably in Dick Hebdige's classic book, Subculture: The Meaning of Style, which, it will be recalled, charts the differing styles during the l960s and 70s of teddy boys, mods, skinheads, Rastas, and especially punks in relation to both the historical conjuncture of mainstream hegemonic culture and the contentious constellation of various male subcultural groups in England.In postmodern culture, youth styles often combine dress with argot, dance, and music, creating shocking ensembles set against the reigning symbolic order; style is a way of being and resisting. Innovation in fashion is less a matter of creativity ex nihilo than of mutation and pastiche. Punk fashion, with its torn tee shirts, orange hair, safety pin piercings, necklaces of toilet chains, plastic pants with multiple exposed zippers, and mask-like makeup, effectively demonstrates not only the simultaneous systematicity and disorganization of late twentieth-century dress codes, but the spectacularized heteroglot visual culture characteristic of postmodern social regimes.
Join Date: Apr 2006
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A key innovation of the carnivalesque, heteroglot, disaggregated culture of postmodernity is the notion of multiple subject positions, in which subjectivity emerges as a sociohistorical construct cobbled together from the many roles and situations occupied, willingly or not, by "persons" whose agency and values, fantasies and desires, cohere in contradiction. Because the formation of identity, moreover, passes by way of continuous mirroring effects afforded by others, self images are social constructions wherein dress plays an important performative role. In a world of looking and being looked at, clothing constantly undergoes coding and decoding in intricate processes of social interaction and judgment. The subject is clothed, and body images belong to monitored cultural inventories and practices. In the highly visual world of postmodern times, subjectivity unfolds in a play of images. For good or ill, fashion has become increasingly connected with identity formation and maintenance among all classes, races, and groups; its scope and significance are less and less restricted to upper and middle classes in metropolitan centers.
By way of exponentially expanding market and media disseminations, mainstream Western fashion has penetrated remote enclaves, extending the disorganized, postmodern phenomena of widespread strategic reinscriptions and shocking ensembles. Meanwhile, in the centers the long-standing modern paradigm of drably clothed and accessoried males and decked out females has eroded, generating not a simple reversal but unstable eclectic post-modern modes of dress.
By way of exponentially expanding market and media disseminations, mainstream Western fashion has penetrated remote enclaves, extending the disorganized, postmodern phenomena of widespread strategic reinscriptions and shocking ensembles. Meanwhile, in the centers the long-standing modern paradigm of drably clothed and accessoried males and decked out females has eroded, generating not a simple reversal but unstable eclectic post-modern modes of dress.
