Viva Vol 1 - September 2020 by NZME.

YOUR FRESH NEW FASHION & LIFESTYLE MAGAZINE

CELEBRATING AOTEAROA NOW FASHION & THE JOY OF SELF EXPRESSION

Sharp suits, artful prints, iconic trends & 385 more brilliant ideas

IN OUR BACKYARD

Chef Peter Gordon returns to his roots

BOLD NEW VOICES

Poets, artists & writers questioning the status quo

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ISSUE 01

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Dulce et Decorum etc I can never have just one of anything Prizes, sunsets, salted peanuts Orgasms, ice-cubes, cowboy hats Crocodile keychains, glasses of champagne. I sit like a crackpot in my bunker Stockpiling beauty for the end of the world Well top me up sweetheart Who cares if I’m drunk! And aren’t two moons better than one? I can never have just one of anything Epiphanies, Agonies, Enemies, Love Even death in its singularity seems miserly On a day like today, pink & white blossoms ravaging the footpath Like God were a dog got into the tampon bin O someone call the make a wish foundation I’m dying My heart like a Cadillac with the roof down And the sky flashing past I can never have one of anything Without wanting everything. If attachment is the root of all suffering – so what? I’m attached to my suffering too Not to mention everyone else’s I run through the graveyard on my way to work Flipping off headstones Those great aristocrats of death Hoarding oblivion

Dulce et Decorum etc was written by New Zealand poet Hera Lindsay Bird. The poem was inspired by the spirit of the Kate Sylvester ‘Exploding Woman’ collection, available in stores and online now.

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CONTENTS

40 ON THE COVER: Manahou Mackay wears a Kate Sylvester blazer $549, Rory William Docherty shirt $940, vintage tie, $15, from Go Jo Recycled Store. See more on page 40.

CULTURE

Photographer: Hōhua Ropate Kurene Fashion director: Dan Ahwa

FASHION

BEAUTY

120 Welcome 14 Contributors 16 Right now 19 Identity in Aotearoa 26 Poetry's new chorus 30 Young, Black & gifted 34 Emilia Wickstead 39 Sunday best 40 2020's pivotal trends 52 Artful dressing 58 NZ's signature looks 66 Switched-on shopping 78 Clothes to smile about 80 Sensual style 82 Vitamin C for skin 89 The future of beauty 90

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FOOD & DRINK

HOME & DESIGN

98 Beauty bulletin 95 Playful makeup 98 Champagne's best friend 105 Peter Gordon's new era 106 Food & drink news 111 Homegrown dishes 112 Jesse Mulligan's hit-list 118 Throw a fun dinner party 120 Worldly winemakers 128 Japanese design 133 Five NZ artists to watch 134 Design notebook 142 At home in a woolshed 148 Welcome to my town 154 Stockists 159 Viva's greatest hits 160

S H O P N E W A R R I VA L S S A B E N . C O . N Z | F O L L O W @ S A B E N LT D

WELCOME TO VIVA — VOLUME ONE

BEHIND THE SCENES Clockwise: Ngā Hine Pūkōrero poets on location in Auckland's Avondale (p.30); Karen Inderbitzen-Waller photographing model Lily Frances (p.58); creative director Dan Ahwa and model Manahou Mackay (p.40); photographer Babiche Martens and deputy editor Johanna Thornton at the recipes shoot (p.120).

student, making a radio documentary about one of the earliest kōhanga reo. I remember the teachers’ vision to keep our indigenous language alive at a time when, as Peter recalls, learning Māori was considered a waste of time. As Jesse Mulligan’s essay on his favourite restaurants around New Zealand and Johanna Thornton’s exploration of chefs celebrating indigenous food shows, Peter is returning to a country that is now proud of its uniqueness and no longer looks to emulate what is happening abroad. Today te reo rolls off the tongues of our young politically-minded poets, and colonialism is explored by artists such as Mark Adams and Aroha Gossage, whose paintings connect to her ancestral hau kāinga (homeland). The pages of this magazine are made richer by the diverse cultures that make up our community today, from our young Black creatives, winemakers from around the globe, Korean and Japanese artists ... the list is endless. It is inspiring to be part of a team of passionate and talented people who question rhetoric and push boundaries. And, I wish to especially thank the advertisers in this magazine who share our vision to be bold, brave and look for the opportunity. Because that is what Viva is about, looking at things differently. Yes, we’re living on the edge right now — literally and figuratively. But, as one of my favourite sayings goes, “Let go of the edge, you’ll be amazed how you float”.

AMANDA LINNELL EDITOR

Photo / Babiche Martens

ou’re holding in your hands Viva’s very first gloss newsstand magazine. Making the leap to a quarterly issue, available nationwide, has inspired and excited us in so many ways. We love that it’s something we’ve never done before. Many of you will know Viva as the fashion and lifestyle magazine that comes out every Wednesday in The New Zealand Herald. It’s a weekly celebration of the good things in life — fashion, beauty, food, design, travel — and in the 22 years since it launched, Viva has won awards and grown into one of the strongest and most trusted voices in our cultural conversation. Or, perhaps you know us from our website Viva.co.nz, where every day our team of expert editors bring you fashion news from around the globe, what to shop for, must-try restaurants, recipes, and so much more. In a year of national introspection, celebrating fashion in our own backyard lies at the heart of this magazine. Our creative director Dan Ahwa drove the vision behind the evocative shoots that fill these pages. Our cover image and ‘Sunday Best’ feature was photographed by Hōhua Ropate Kurene and, on the eve of Level 3, Dan led a cast of models through the suburban gardens of Auckland to capture this powerful story. Meanwhile, photographer and makeup artist Carolyn Haslett executed her uplifting beauty shoot during Level 2. These are innovative people who think outside the square to get the job done. As the churn of fashion has slowed across the globe due to Covid-19, what we choose to wear takes on a more poignant role. The anthropological aspect of fashion is fascinating and explored by Emma Gleason in her article ‘What to Wear Now’. Yes, fashion plays an important role in making us feel good, but it also reflects societal shifts and acts as a record of time and mood. In a year infused with turmoil, fashion tells its own story. Drawing on Viva’s history gave us the strength to launch this magazine in a challenging climate. Indeed, “...we look backwards to the future” is a line that truly resonates in the personal and powerful essay by Emma Espiner. This year has pushed us all to explore where we've come from, and discuss where we want to go. Writer Kim Knight caught up with one of our most respected chefs, Peter Gordon, about his return to New Zealand. Peter’s desire to reconnect with his roots takes me back to growing up on a farm on the Kaipara Harbour, learning te reo at school and, as a journalism

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Amanda Linnell Dan Ahwa Johanna Thornton Imogen Temm Lucy Casley Emma Gleason Ashleigh Cometti Angela Casley Jesse Mulligan Jo Burzynska, Emma Espiner, Jo Elwin, Ginny Fisher, Lauren Freeman, Kath Gould, Carolyn Haslett, Tim Hawkins, Julie Hill, Karen Inderbitzen-Waller, Karen Ishiguro, Kim Knight, Soraya LaPread, Babiche Martens, Amber Rixon, Hōhua Ropate Kurene, Sophy Phillips, Delphine Avril Planqueel, Karl Puschmann, Sammy Salsa, Karita Siakisini, Courtney Sina Meredith, Phoebe Stanford, Kieke Stanners, Vivian Mavunga Neil Jackson Greg McCrea Margaret Hawker Chris Rudd Danielle Tolich Sam Glasswell, Andrea O’Hagan Lucy Janisch-Fitzgerald Sheryl Dunlop Monique Hodgson Isobel Marriner Courtney Whitaker, Jill Stanford, Sue Baxalle, Maureen Marriner, Shandelle Battersby Lee Miller Jon McDonald Ovato Ovato Michael Boggs Shayne Currie Paul Hancox David Mackrell Laura Maxwell Katie Mills Wendy Palmer Allison Whitney Matthew Wilson

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Our general style preferences tend to veer towards the organic, so local plant-based haircare brand Botaniq is on the money with its thoughtful formulas created by leading hair stylist Adelle Rodda. Putting her degree in applied and cosmetic sciences to good use, the natural haircare line is formulated in New Zealand, with a focus on effortless hair that supports its natural predilection. A hair texturiser, sculpting balm, cleaning powder and hair oil are made using biotech-derived alternatives that make the most of green chemistry. It's a science close to Adelle's heart, creating the range as a response to her own personal frustrations at the greenwashing rife within the hair care industry. For its newest campaign, Adelle teamed up with fellow hairstylist Sky Cripps-Jackson and photographer Scott Hardy to capture the essence of the brand's products inspired by beautiful New Zealand. Botaniq.nz

Photo / Scott Hardy Model /Roxie Mohebbi (N Model Management)

5 SWEET AS ACCESSORIES FROM AROUND THE COUNTRY

RIGHT NOW

DUNEDIN: Walter Van Beirendonck necklace, $285, from Dada Boutique.

NEW PLYMOUTH: Rachel Stitchbury gold plated earrings, $265, from Et Vous.

Actor Tommy Dorfman in the latest #PROUDINMYCALVINS campaign. Photo / Ryan McGinley

Harnessing its inclusivity and diversity roots (who recalls the progressive CK One campaigns from 1994?), Calvin Klein recently appointed a group of inspiring faces to front its #PROUDINMYCALVINS campaign to highlight awareness and the brand’s ongoing support for the LGBTQ+ community around the world. It stars nine prolific models, actors, artists and activists, including 13 Reasons Why actor Tommy Dorfman, who identifies as non-binary. Photographed by Ryan McGinley, the campaign highlights

the brand’s limited-edition Pride collection including underwear, clothing and accessories reimagined with bold rainbow details. Also featuring in the new campaign is queer photographer MaryV, trans actress Jari Jones and lesbian pop-singer Gia Woods. Calvin Klein has partnered with OutRight Action International to raise money for Covid-19 relief, offering emergency financial resources to LGTBQ+ organisations around the world who are serving people impacted by Covid-19. Calvinklein.com.au

CHRISTCHURCH: Mars sunglasses, $250, from Infinite Definite.

WELLINGTON: Hera Saabi 9ct gold and emerald ring, $890, from Ena.

The Show Must Go On Dior’s newest makeup collection Diorshow 2020 features reimagined classics from Peter Philips, Dior Makeup's creative and image director. The collection is a fresh take on Dior’s Diorshow Iconic Overcurl Mascara, $65, and 12 new Diorshow 5 Couleurs Couture eyeshadow palettes, $127, each representing a Dior runway look. The new Diorshow 24H Stylo, $52, is a waterproof, double-ended eyeliner for 24hour wear. On counters from September 6, from Auckland’s Dior Commercial Bay beauty boutique, selected department stores and independent pharmacies.

MT MAUNGANUI: Vanessa Bruno sandals, $530, from Sister & Co. See stockists on page 159.

All Kinds of Wonderful Jo Malone London is known for drawing inspiration from real-life locations to inform its newest olfactions. But the brand has done things a little differently with its new Lost in Wonder collection, this time set in the mystical Hanging Gardens of ripe fruits, trawling vines and bountiful florals. The collection boasts two new scents — Fig & Lotus Flower cologne and Cypress & Grapevine cologne intense. Jo Malone London’s Lost in Wonder collection is priced from $122 and is available from September 21 from Jo Malone London’s Auckland boutique and selected department stores.

Perfect Fit A long-standing figure in the local fashion industry, Jane Daniels has championed quality materials, enduring design and the value of clothing since establishing her label in 1986. Her new spring/ summer collection is arriving now, but something far from new is her commitment to providing her loyal customers with a special-order service. Jane credits her ability to do so on the fact that her garments are crafted in New Zealand from high-quality European fabric, with an exceptional focus on cut. Customers can arrange an in-store consultation and pieces can be adjusted for height and fit. Pieces from Jane’s archive can also be made-to-order and, as with her new range, all are designed to last. Janedaniels.co.nz

New Order band members in New York in 1983.

5 NEW ALBUMS TO CHECK OUT

New Order WHAT: Definitive edition of their 1983 breakthrough album Power, Corruption and Lies. WHO: Iconic indiedance rock pioneers who emerged from early tragedy to take over 80s club life. SOUNDS LIKE: A rush of electro-excitement that can spiral from joyous abandon to meditative melancholia before you quite realise. WHY WE’RE EXCITED: The upcoming Power, Corruption and Lies is epic, bundling a new remaster, 13 unreleased songs, Peel Sessions, two filmed live shows, a doco, alternate mixes, non-album singles (including Blue Monday) and a book into a snazzy pink and gold boxset that comprises vinyl, CD and two DVDs. Start saving. WHEN: October 2 Marie Davidson x L’oeil Nu WHAT: Renegade Breakdown WHO: Acclaimed minimal wave producer expands her sound with two pals from Montreal’s DIY scene.

SOUNDS LIKE: A partyready collab between Kraftwerk and the Pet Shop Boys as fronted by Grace Jones. WHY WE’RE EXCITED: The trio’s neon-soaked 80s electro grooves matched with Davidson’s wry spoken-word delivery is simply infectious and oozes catwalk cool with her bilingual vocals adding a sophisticated international flavour. WHEN: September 25 This is the Kit WHAT: Off Off On WHO: Paris-based English alt-folk artist Kate Stables and ever-changing band. SOUNDS LIKE: She’d fit right in at New Zealand’s alt-folk spiritual home of Lyttelton. WHY WE’RE EXCITED: Stables plays fast and loose with alt-folk norms, pulling off elaborate decorations like sax solos, banjos and fuzzy guitars with ease while never losing sight of the genre. As the new single This is What You Did amply — and catchily — demonstrates. WHEN: October 23 Wax Chattels WHAT: Clot

WHO: Sinister Flying Nun noise merchants. SOUNDS LIKE: The musical equivalent of a dark, dingy alleyway you really shouldn’t be walking down alone late at night. WHY WE’RE EXCITED: Raucous and confrontationally explosive, Wax Chattels conjure an ominous mood that draws you in through its repeating hypnotic power and violently sudden unpredictable outbursts. WHEN: September 25 Troy Kingi WHAT: The Ghost of Freddie Cesar WHO: Genre-hopping, multi-award-winning muso on a mission to release 10 albums in 10 different genres over 10 years. SOUNDS LIKE: The longawaited dawn of a classic 70s street funk revival. WHY WE’RE EXCITED: Just one listen to the undeniably funky bass groove of lead single All Your Ships Have Sailed will get you excited as well. The Curtis Mayfield-style social commentary and Beyonce-flavoured vocal rhythms just take it over the top. Jam hot. WHEN: September 11

RIGHT NOW

Book Club: La Buvette A tiny wine shop in Paris’s 11th arrondissement that is at once stylish, intimate and laid-back, La Buvette has perfected the coveted je ne sais quoi style of entertaining. In this book (out September 15), La Buvette’s owner, Camille Fourmont, provides a guide to the wine and food served at her wine bar and cafe, with 50 recipes for delicious snacks and meals, plus plenty of wine. La Buvette, Recipes and Wine Notes from Paris, $48, Penguin.

Spanish pop sensation Rosalia. Photo / Supplied

Every year we patiently await the launch of M.A.C’s annual Viva Glam campaign, and 2020 certainly didn’t disappoint. Spanish singer-songwriter Rosalía has been appointed as the face of VG26, M.A.C’s new limitededition fiery red Viva Glam Lipstick, $35. Acting as the living incarnation of the newly created shade, Rosalía was handpicked by the brand for her charisma, strength and vibrancy — all of which is evident in her original approach to music. The M.A.C Viva Glam collection is available from selected M.A.C boutiques, department stores and online at Maccosmetics.co.nz from September 24. Learn more about Rosalía in our exclusive interview at Viva.co.nz.

Capital Idea Emerging Wellington label Havilah has opened a pop-up store in Te Aro. Championing locally made plant-based products, the space showcases founder Havilah Arendse's colourful pieces, while also giving shelf-space to brands like Mystery Creek Ceramics, Fiele Fragrances, Lay Plan, Ema Designs and more. Havilah, 6 Lombard St, Wellington. Havilahlabel.com

Smells Good Leading niche perfume retailer Libertine Parfumerie is set to open counters in both of Smith & Caughey’s Auckland stores this October. Founded in Australia and soon to arrive on our shores, the perfumery specialises in high-end fragrances from brands including Creed, Penhaligon’s, Hermetica, Roja, Maison Crivelli, Juliette has a gun, Amouage and more, many of which will be exclusive to Smith & Caughey’s. Other newness to launch inside Auckland’s premier department stores in September include two beauty brands in the curated beauty concept area — Madara cosmetics and skincare and Alterna haircare — as well as a new Armani counter inside the Newmarket store. Smithandcaugheys.co.nz

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SIGN OF THE TIMES: True Blue In 1999, Cerulean Blue was selected as Pantone’s colour of the year, a shade that offered reassurance on the eve of Y2K. This year’s official Pantone colour, Classic Blue, similarly offers respite from news headlines — and now social media scrolling — and celebrates moments of mindfulness, where sky and sea meet. From vibrant cobalt hues to light turquoise — blue’s visual appeal and depth is the perfect way to add tranquility to our lives right now.

Clockwise from top right: Lela Jacobs shirt dress, $680, from 47 Frocks; Anna Gedson aluminium kete, $300, from The Poi Room; Allbirds sneaker $230 for a pair; Cathy Pope earrings $219; Willem Dafoe as Klaus Daimler in The Life Aquatic (2004); Devon Made glass banana (made to order); Hinemoa Elder waved the flag for World for a nuclearfree New Zealand at the 1995 Corban's Fashion Collections at the Auckland Town Hall; Wynn Hamlyn blazer $895; Antique lapis lazuli bead necklace, $1250, from Graeme Thomson Jewellery; @tradition pendant light, $699, from Design Denmark; Salvatore Ferragamo fall 2020. See stockists on page 159.

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Identity • noun • who a person is, or the qualities of a person or group that make them different from others

LOOKING BACKWARDS TO THE FUTURE 26

Emma Espiner explores the concept of identity in Aotearoa in 2020 and how the collective shake-up from a global pandemic is a chance to face our disparities head on, and move forward with compassion

Six writers on identity in Aotearoa today

wear my parents' wedding on my arm. It might seem like an odd thing to do — getting this event memorialised in ink on my left forearm — because they have been divorced since I was 3 years old. Our families remain connected and, to me, the wedding itself epitomises the strength of our bicultural foundations when we meet each other in the middle. When I told my uncle, a tā moko artist, that I dreamed about my parents' wedding the night before, he joined the designs representing my two grandmothers with the black and white checks of the ceremonial tāniko cloth which covered my parents’ hands in union at a church in Takaka, long before I was born. Mum’s family are a mix of Irish and English immigrants who arrived here with nothing and worked hard — in the mines on the West Coast, on the sea in big metal boats, on farms and in the shearing sheds. The women are fierce and the men, gentle. They love this land. Dad’s family are from Ngāti Tukorehe, nestled under the Tararua Range and linked to the sea by the Ōhau River. His mother is from Tikitiki, home to a cream weatherboard church on a hill overlooking the ocean, with crocheted pillows strewn across the pews and tukutuku panels along the walls. Dad’s mother Kura is a taniwha whose tail kisses my elbow. Mum’s mother Ethel is adorned with scales, a mermaid journeying across the sea to Aotearoa, fins curling around my wrist. The two families met for the reception at Pohara, Golden Bay; the same place I married my husband nearly 30 years later. Both staunchly Catholic, each matriarch brought her own priest to the wedding, determined to ensure that only the best korowai of faith would be woven around the young couple. The photos show my grandmother Kura singing a waiata tautoko for my grandfather Martin in front of a sea of Pākehā faces; people who didn’t understand what they were seeing but who were respectful and curious because, after all, we were becoming one family. At our own wedding, my father-in-law — who speaks no language other than English — nonetheless got the gist of my father’s fierce whaikōrero and replied in kind; referencing his whakapapa from across the sea, his people and their land. My nieces sang his waiata tautoko — their four-piece choir trilling Bruno Mars’ Just the Way You Are into the sea breeze. My husband Guyon [Espiner] worked for Morning Report at RNZ for five years while our daughter was a preschooler so that he

could be at home with her in the afternoons while I was studying. When he started using te reo Māori on the radio it irritated a minority of people who were extremely vocal about their concerns for English language literacy. Others felt they didn’t need the airways to be polluted with a "pointless" language. Some people just didn’t like change. There’s nothing a journalist enjoys more than a challenge, so he persisted and the complaints died away. Different feedback started coming in. The Pākehā grandfather whose mokopuna are learning te reo at school was grateful to hear someone like him giving it a go and he felt less shy about trying to pronounce place names differently from the way he’d pronounced them his whole life. We heard about workplaces who had set up informal classes, meeting in their lunch breaks to eat reheated leftovers and puzzle through Stacey and Scotty Morrison’s Māori Made Easy books together. Guyon had gone unrecognised in Auckland for the entirety of our time living here and suddenly people were crossing the road to tell him how much they liked hearing the language of this land on mainstream radio. People were hungry to connect with the suppressed language and history of our country and they were showing up in droves at beginner te reo Māori classes to do so. This is optimism in its most vulnerable and precious; putting yourself into the unknown, the starting point to build our mutual understanding and respect for one another. In te reo we look backwards to the future. Drawing a permanent representation in ink of a day where Māori and Pākehā encountered one another with love in their hearts and became a single family felt optimistic and prophetic when I sat in my uncle’s tā moko studio last year, listening to the buzz of the needle as my grandmothers appeared on my arm. These wāhine toa kept in touch for the rest of their lives, their bond long outliving my parents’ marriage. They swapped recipes and gossiped about te Hāhi Katorika [the Catholic Church] and, undoubtedly, their heathen offspring. This year we’ve had many of our illusions about our country shattered through the circuit-breaker of a deadly pandemic. Suddenly we have a collective traumatic experience to draw upon and it's allowed us to really see each other in a way that’s been difficult in the past. We have to draw each other close because we are all that we have. We’ve had to face up to the inequities in our society — the disparities in health, the growing numbers of homeless, the economic devastation of jobs lost overnight and entire sections of the economy collapsing. We saw that the challenges

Julie Zhu is a photographer, film-maker, and producer. She was born in Xi’an, China and is based in Tāmaki Makaurau I’ve been noticing a trend among my fellow Asian filmmakers of incorporating Māori characters or themes in their writing and it’s made me think about identity, belonging, and appropriation. Diaspora storytelling is often about forging a "right" to belong, to resist the alienation we feel is our default. But I’m curious whether this imposes new meaning juxtaposed alongside tangata whenua. And I’m wondering if myself and my fellow immigrant communities are — in the same way that Pākehā have done for so long — using aspects of indigeneity to raise a claim of belonging to this whenua ... that we do not have the right to claim.

Nicole Titihuia Hawkins (Pāhauwera, Kahungunu ki Te Wairoa) is a full-time kaiako and sometime writer

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"[Comedy sketch show] Sis thrust its way to our screencasts recently and was met with hyena laughter and Kahungunu eyebrows. Not all feedback came from aunties reaching for their TENAs [incontinence pads], though. Twitter became the papa kāinga for claims that Sis was vulgar. Some called for the portrayal of successful Brown women — like lawyers. When we undermine other’s identities, we invalidate our own people’s narratives. I want my students, who pair Pumas with Puletasi, to know that being a lawyer isn’t the only way to have a story worth sharing. Wāhine mā: telling dirty jokes doesn’t stop you from being successful. It’s 2020 — the best do both.

of living in New Zealand were unevenly distributed among different groups — the ability to live well determined in part by wealth, gender, ethnicity and where we live. As we rebuild we need to ensure we deepen our surface level kindness into empathy. The American essayist Leslie Jamison talks about how empathy means “acknowledging a horizon of context that extends perpetually beyond what you can see”. To me, that sounds like assuming the best of each other, supporting one another and celebrating our differences. The collective anxiety, the loss of economic security, the loved ones lost and the many personal tragedies could be the substrate for better understanding one another, and a template for how we move forward. In the relative isolation of our protected position, we now have a perfect opportunity to explore our own diverse communities and celebrate who we are. The good fortune to be living in this country in 2020 compared to the rest of the world means we have no excuse not to move forward with gratitude and open minds. A good place to start is to look back at the journeys that brought us all to these shores and weave that diversity into a firm foundation for our future.

Arihia Latham (Kāi Tahu) is a writer, rongoā practitioner, facilitator and parent in Wellington

I’ve always had this strange siloed idea around identity. Like now I am the health practitioner, now I am the writer, now I am the sensible parent, now I am the raucous life of the party. Now I am the loud decolonising Māori voice, now I mince about, awash in the milk of white privilege. I’ve never known there to be a place where I could turn up whole. As a result I haven’t felt entirely here, anywhere. I realise now that’s because I was shoving myself into my own pockets, unnecessarily hiding compartments of myself away, I’m not sure anyone else was asking me to do that. Since lockdown, I’ve just started showing up to the party as wholly myself and, TBH, who knows what’ll happen now?

Colleen Maria Lenihan, (Te Rarawa/Ngāpuhi/Pākehā) is a writer and photographer based in Auckland

Stacey Morrison (Te Arawa, Ngāi Tahu) is a radio and TV broadcaster, an author and māmā to three children

Since [the first] lockdown I’ve been learning about maramataka, the Māori lunar calendar. I began by watching videos on Facebook by Heeni Hoterene, a maramataka expert, and now I plan my days according to what phase the marama is in. It’s been life-changing. I’m far more productive, and much happier. The Western lifestyle expects us to be on our grind 24/7, and ignores what is going on in the environment. Maramataka teaches us to align with nature and to expect lulls. During dips in the cycle, we can practise self-care and plan how to best harness the high-energy phases.

The love stories of my grandparents speak of devotion undeterred by distance or difference. I’m me because of young, brave and adventurous love. My nana is young and lovely in a 1950s bikini on a boat from England to follow her dashing fiance to New Zealand. Simultaneously a similar love story unfolds between the Rotorua maiden and a young teacher from Ngāi Tahu. This foursome, two Māori, two Pākehā, connect at a Christchurch kapa haka group, sharing a love of waiata. Their children meet and the cycle of young love begins again. I am the surprise result of teenage love. Some identities are projected on to us by others. People identify me as a "busy working mum" more than I feel comfortable with. Do I have to be busy to be me, can I be still, not rush around? If my work changed, do I feel that part of my identity is gone? The first noho rāhui whakamohoao/lockdown questioned this, slowed me down but sped me up too. I promised to hold on to parts of "the way we were" during those months. Yet here we are, busy again, leaving the house again. I’m grateful to do so, checking my privilege.

Anna Rawhiti-Connell is a social media consultant, columnist and board member of the Auckland Writers Festival. As a child, my identity was pinned to the fridge. "Talkative", "bright", "never diligent", said school reports. I’ve worn these traits like loud, jangly bangles for most of my life. Identity, I thought, was immutable. It created excuses. "Talkative", a defence for a bad listener. "Never diligent" meant never trying. I turned 40 last year and realised I was bored. Bored by me. Bored of bad behaviour. I’ve spent the last year surrendering to change, aided by the quiet uncertainty of lockdown. Now 41, I’ve never felt so unsure about my "identity" and comfortable with who I am.

* Emma Espiner (Ngāti Tukorehe, Ngāti Porou) is an award-winning writer and final year medical student at the University of Auckland; she hosts 'Getting Better', a RNZ/ NZ on Air podcast about Māori health equity.

A L L A new generation is using poetry in all its forms — rap, spoken word and essay — to navigate a world that’s no longer making much sense. And the rest of us are listening intently, writes Julie Hill

R I S E

Ngā Hine Pūkōrero members from left, Terina Wichman-Evans, Manaia Tuwhare-Hoani, who’s the greatgranddaughter of poet Hone Tuwhare, Arihia Hall and Matariki Bennett. Photo / Babiche Martens

Te reo Māori is the native language of our country Passed down from generation to generation Over a single century it almost vanished from a law that suppressed the sound of it in schools Kids were bruised by their teachers’knuckles for speaking it in the playground This was their way of delivering us from our wayward state They viewed our language as the head of a snake Deemed useless because it wasn’t written on paper It wasn’t long until we were forced to speak in silence — Ngā Hine Pūkōrero

n April, as Black Lives Matter protests kicked off in the United States and around the world, the crowd of several thousand gathered at Auckland’s Aotea Square was treated to a history lesson delivered by a group of teenage girls. Spoken word group Ngā Hine Pūkōrero met as students at Western Springs College. In Year 9, they came across a video of Californian poet Rudy Francisco that blew their minds. Member Matariki Bennett, who’s now studying at South Seas Film & Television School, says they mentioned it to teacher Alice Heather (“the coolest teacher on Earth”), who hooked them up with local poetry slams like Word — the Front Line. In the last couple of years, they’ve been invited to festivals in Melbourne and Las Vegas. They even get asked to do corporate gigs. Fluent in te reo since they were little, their act glides between Māori and English, words and waiata. “One thing people always say about te reo is that it’s the most poetic language,” says Matariki. “There’s no way to say ‘I love you’ — you have to use metaphors to describe your love. So many metaphors have been used in English that it can get repetitive, but when we add in Māori and songs and waiata and moteatea [laments], it breaks it up a little bit.” While most of us can only view the current state of the world with our mouths agog, gently crying or perhaps hyperventilating, poetry in all its modern iterations — rap, spoken word, lyric essay — is more crucial than ever in steering us through this shitstorm. And while New Zealand poetry was once an elite club of mainly posh white males, these days, those best placed to articulate our suffering are more likely to be those who’ve actually experienced it. Matariki reckons poetry is having a moment. “Completely! When we started it was kind of a nerdy thing to do. Or we’d say, ‘We do spoken word’ and people would say, ‘What’s that?’ It’s definitely become cool now.” Is that because she’s made it cool? “Ha! I doubt it.”

I starved myself of language, but I couldn’t starve myself of other things. Wonton noodle soup, Cantonese roast duck, my mother’s crispy egg noodles and her special congee. All the thick, sweet smells of yum cha restaurants my parents took me to, ordering all the same dishes every time, ever since I was born — Nina Mingya Powles

O 31

ne of this year’s best-timed literary releases was Tiny Moons, a book of essays by poet Nina Mingya Powles that deals prophetically and gloriously with the joy of cooking and with loneliness and belonging, published at a time when food and solitude were all we could think about. Nina says she’s delighted that her words have provided comfort in these weird, bewildering times. A Malaysian-Chinese-New Zealander currently living in London, Nina’s new poetry collection, Magnolia, sprinkled with Mandarin, Hakka and

Far left: Londonbased poet Nina Mingya Powles says poetry is meant to be a beautiful, emotional experience, not scary or difficult. Left: essa may ranapiri's first collection of poems has been described as a "landmark in Aotearoa publishing".

Māori, explores what it’s like to be encumbered with so many hyphens and is a love letter to another of her former homes, Shanghai. Nina wasn’t exactly riveted by the poetry she learned at school in Wellington. “We did World War I poetry and that was it. It was really boring and hard to understand.” But in her final year of a BA, lecturer and poet Anna Jackson introduced her to contemporary women poets including Wellingtonian Helen Rickerby, now a great friend, and Canadian poet Anne Carson, who’s become a key influence. “Just to know there were these incredible women writers doing really interesting, radical, strange things with poetry felt quite magical.” That inspired her to create her 2017 collection, Luminescent, which honours five Zealand women: a writer (Katherine Mansfield, with whom she became a little obsessed); a cosmologist; a dancer; an early settler and a ghost. Nina says in the last 40 years or so, there’s been a “surge” of women poetry and fiction in New Zealand. “There’s not so much of that preciousness or anxiety from older writers and poets that their work is not as relevant. Instead there’s a real excitement and welcoming of new young writers and publishers, which is awesome.” So, is poetry having a comeback? “I think that idea seems to come around every two years,” Nina says, “but that doesn’t mean it’s not true. People are turning to it particularly now with lockdowns around the world and so much political upheaval. More and more young people are getting interested in it, which is amazing.” A big contributor to that is the way poetry is taught in school: “It’s becoming a lot more interesting,” she says. “Poetry’s not meant to be scary or difficult. It’s meant to be a beautiful emotional experience. I don’t think a poem needs to be understood: you feel a poem rather than understand a poem. And hopefully through education, the idea of poetry being really obscure and difficult will slowly fall away.”

the poem isn’t allowed to say abolish the police abolish the police abolish the police return their uniforms to the dirt and their sirens to the odyssey tie a leash to a grenade and send it off teach it how to PR good pet mammals run that straight-up racism through its fur — essa may ranapiri

irikiriroa poet essa may ranapiri wrote “what the poem isn’t allowed to do” in 2018, and today it makes them seem a bit psychic. But essa points out that activists like US civil rights icon Angela Davis have been calling for abolition of the prison system since the 1960s. The poems in their first collection, ransack, while beautiful, are less philosophical musing, more PSA. In a review in Pantograph Punch, Jackson Nieuwland calls the collection “a landmark in Aotearoa publishing” and “the best explanation of non-binary gender I have ever read”. essa says, “I guess with ransack I was very invested in trying to explain myself, especially to a world that doesn’t understand. I was writing it as almost an educational text in some ways.” Their work nods to other writers in a way that feels uniquely gracious, whether it’s Scottish poet Harry Josephine Giles, whose ‘Abolish the Police’ inspired the verses above, masters degree mate Tayi Tibble, or fellow non-binary writers Nieuwland, Oscar Upperton and Eliana Gray. Earlier this year, essa wrote a heartfelt lyric essay to Witi Ihimaera’s memoir Native Son. “I had an exchange with Witi where I said, ‘I’m writing a review of your book,’ and he said, ‘Um, you don’t have to’ — but, like, in the kindest way possible.” They don’t know if Ihimaera saw it, nor if he tried to get in touch. “I had this weird thing where my email was blocking anything from Gmail, so I’m worried he sent me something and I totally ghosted him.” Also a musician and artist, essa hadn’t considered publishing their poetry until their lecturer at Waikato University, poet Tracey Slaughter, convinced them it was “worth something”. Nor did they inform their own mum that they’d released a collection. Nevertheless, she tracked down a copy. “She messaged me

and said, ‘I’ve just been reading your book.’ I was like, ‘Oh cool — all the conversations we don’t have, you’re now reading in a published book.’” (She loved it.) In their new collection, essa takes a break from first-person revelation to focus on Echidna, the ancient Greek mother of monsters. They compare Echidna to Eve, another mythological mum who gets blamed for all the world’s evil, “but then she turns into this weird avatar for how I experience the world, and how queerness and being Māori and all these things entangle.” So tell us to be quiet and know that we won’t This is our language. We are reclaiming it. We will speak it Because our bodies weren’t built for silence. We will speak it Until every ear drop is bruised. We will speak it — Ngā Hine Pūkōrero

erina Wichman-Evans didn’t make it to Ngā Hine Pūkōrero’s Black Lives Matter performance because her mum was sick (she passed away a month later). It affected all of them, and they worried that missing their friend might throw them off, but Matariki says the energy of the crowd helped lift their spirits. Afterwards, US author and activist Naomi Klein was among many who shared their poem online. People got in touch with their own experiences, like a woman who said she’d been beaten for speaking Māori at school too. People who think racism isn’t an issue in New Zealand, Matariki argues, likely never had to put up with it. “We’re not comparing [ourselves to the US] by any means, but there is a culture of police brutality in New Zealand as well. Māori are nine times more likely to be tasered by police.” Those who downplay that tend to be “people who have been stuck in their own bubble of privilege”. “They can choose what they pay attention to,” Matariki says, “whereas for us it’s our life, we can’t ignore it.” For more arts and culture go to Viva.co.nz.

CREATIVE CREATIVE CLASS CLASS

es us tiv tat es ea s v s cr e wa i ty d th g ce ni fte ng in en mu gi gi ak ri d en m pe om an all d ex c e n ck ch , a ive , th s t la h B nd ce ea ive it g, g a cti cr ct d w un in ra ck lle ne yo am e p la co ko of -fr tiv e B s a ec lth , re rea th l, a e r ea a c ile a b w ro ir h du to a tea the . W ivi e s d c e' Ao h ss in or er in ug ce h a f Th ng hro ro eac is p t i liv o he to qu n t ue i iq un PHOTOGRAPHER Babiche Martens CREATIVE DIRECTOR Soraya LaPread

CREATIVE CREATIVE STYLIST Dan Ahwa

CLASS CLASS

Synthia Bahati, 22, photographer

Waguan, 21, rap artist/musician

Ayan Makoii, 19, model

"2020 showed me a different kind of face — my realest face. If the world can get this wacky then I can be a little weird, right? I find the chaos welcoming of my art.

"Identity is being aware of one's true self, where you come from, and being proud of it.

My big sister told me that you can’t take care of others if you aren’t taking care of yourself. If I struggle to give to others it’s because I haven’t taken care of my own needs and that’s important." @wag-uan

2020 has made me reflect on who I work with within the industry, as some people do not share the same morals as me. The BLM movement is every day — it's not just something that we deal with in waves. We are constantly educating people, while experiencing racism first-hand almost every day. I gave myself some good advice . . . fruit is good for you, and tomorrow will be better." @ayanmakoii

"I was in LA at the end of February to sign a pretty massive opportunity on paper to be a songwriter for some of the biggest names on the planet. The day we arrived was the last day before everything went into lockdown and studios and public spaces shut down. I've learned to trust the universe and accept things instead of trying to control them. I'm also a breath-work and healing facilitator, harnessing the power of oxygenation to heal past traumas. I’m in the process of securing funding with my business partner, John Vake, for a framework that would allow us to enter Afro-centric, Pacific and Māori communities to facilitate events and workshops to heal, educate and empower our leaders of tomorrow. Osho once said "Be, don’t become". We are so busy trying to prove something to people and ultimately to ourselves that we do so much. We are beautiful, flawed and perfect as we are — all we have to do is be. Don’t search for success, peace or love. Be it. Because you are. That understanding allows you to magnetise and attract your wildest dreams and reality rather than spend life in the rat race chasing it.” @pharaohswami

Vivian Mavunga, 24, makeup artist

“Being of southern African heritage, my mother and father always reminded me that I was different. My hair, my skin, my accent, my custom and culture, my motivation in life are all different from those born on New Zealand soil. Understanding this difference has helped me to remain sturdy in my African heritage while integrating the Kiwi culture I’ve grown up with. I live by this philosophy passed down by my forebears — Umuntu ngumuntu ngabantu — I am because we are, and through our different identities we should strive to show humanity and kindness to others. I’ve learned to be my own biggest fan, investor, and critic. I’ve always had to work 20 times harder to prove my talents are worthy of recognition. There are amazing and talented makeup artists in Auckland and I’ve felt drowned out the past couple years. My goal is to support and hype my own work before expecting my community to do it for me. I recognised my worth in 2020 and I know the universe will recognise my manifestations to grow as a young Black creative in Aotearoa.” @vivianmavunga

It's made me reflect on who I am, with and without creating, and how I could use the resources I had access to in order to create. It challenged the way I approach my work. I don’t feel like I'm living without making and being around the people who inspire me (other than my family). We are all different and have different experiences as young Black creatives. For me, it means often being the only African person at exhibitions. It means having a lot of older people look down on you for pursuing a fine arts degree and then asking if you can photograph or paint a portrait for them. It means people taking advantage of you where they can. But it also means being free to create and be who I want to be in this world. I’ll always remember being told to not worry too much about what others think of my work. To just keep going with what I’m doing. Follow my gut and create. Create with intention." @synthiabahati

The creatives are wearing their own clothes. Waguan wears Stan Ray jacket. Ayan wears Stan Ray shirt. Mez wears Stan Ray jacket. Vivian wears Camilla & Marc top. Tak wears Huffer jacket. JessB wears Levi's hoodie.

Identity is something we use to navigate our place in the world, but it’s not what we are made of, which people tend to confuse. You are made up of lots of things, your identity is the flavour combinations you use in order to feed those around you.

To be young, Black and creative in Aotearoa means to always be one step ahead and to be patient. Our time is coming.

Mez Tekeste aka Pharoah Swami, 28, singer/songwriter

"2020 was creatively challenging. I was excited to get going with uni and creating only to have Covid-19 put a halt on everything. I thought being stuck indoors would make me feel inspired but it did the opposite. I wasn’t making, I wasn’t researching. I felt lost.

Tak Soropa, 20, photographer

Coco Jouavel, 21, stylist

"My values and qualities are unique to me. My identity can be misunderstood, but so can you.

"This year has challenged everything. It hasn’t challenged me creatively so much as it has challenged my mindset, as I hope it has with everyone. I think Covid-19 sending many countries into lockdown has forced us all to stop and think globally, to look at our systems and re-evaluate how our countries and world is run — ideals, capitalism, injustices and corruption.

White supremacy hasn’t disappeared from our institutions just yet, we need to keep pushing for change, donate and most importantly educate. 2020 has been a big year for planet Earth and there’s no doubt that everyone has been challenged creatively. I draw inspiration from my surroundings. I’m a firm believer that putting yourself in a situation physically is the best teacher. Quarantine and having to stay home prohibited this and put my creativity to the test. Creativity is something that should be nurtured rather than practiced. Everyone has different creative outlets whether they know them or not. In lockdown I wasn’t able to be creative in familiar ways, but that made room for experimentation to find new ways of having fun. I’ve learned about myself this year and what I wish to communicate through art. With photography I want to create with subjective meaning. We see so many unimportant things on the day-to-day; I want my creativity to have value to someone in some way." @taa.k

Identity to me is knowing yourself. Accepting yourself fully. Clocking your inner and exterior presence. Identity is knowing your selfdifference and things that make you up (internally and externally) but being more than just that, being yourself undeniably. To channel and love your existence. To me I am a Black woman, I love my Black complexion, my pigment is my difference, beauty and strength. My roots are what makes me. I am spiritually Black, my blood is Black. My skin is a work of art. Blackness is an embodiment of greatness, Blackness is symbolic. This is a huge part of my makeup, this is my identity, this is me. I am Coco and I channel all of me.” @llcuulj

JessB, 26, rap artist/musician

Soraya LaPread, 31, music producer/DJ

Nauti, 23 , rap artist/musician

"This year has thrown everyone’s plans off in terms of our ability to do shows, and travel for music. I've challenged myself to try other methods of being creative and I've also got into a few new creative outlets for fun.

"As a DJ, the main way I connect to my audience is by playing at events. It was hard to find that outlet during [the first] lockdown. I did livestream DJ sets and record sets for Soundcloud, but it wasn’t the same.

To be young, Black and creative in Aotearoa means to be a part of a brand new youth culture that has a unique identity. A visible group of young Black creatives is something that we haven’t had before, and we are starting to find our collective and individual voices.

My musical expression is influenced by the people in front of me experiencing the music — so I found it challenging to feel connected. As a producer I was able to create but my inspiration comes from collaborating with vocalists, writers and being able to read the energy of people around me.

"My dad is from Haiti and my mother a mix of European, and so identity to me was always me and my brother being among the few Haitians in New Zealand. We're all under the same umbrella of our colour, and having both sides, I'm glad to have my own identity and to be me.

Identity to me is everything that makes up who we are. How we see ourselves, how the world sees us. I recently had a conversation with a friend that has stuck with me, where we talked about our roles creating change. We talked about the idea that not everyone is going to be able to contribute in the same way, but every different job working towards the same kaupapa is equally important."

I’m lucky because I don’t feel I've had to tone down who I am in order to maintain my music career and I'm so grateful.

@ogjessb

As a Black creative in Aotearoa, acknowledge us in times of strength and weakness. Don’t be afraid to show support or to stand up for those who aren’t treated equally, not only Black people but all people. Actions and words are just as loud. If the only action you can do is speak then say it loud." @sorayalapread

People of colour and people from the streets who need the music are the ones who really push my music. Music helped me and I want to help similar-minded people the same way. As an independent artist you're always relying on yourself and wondering when the next cheque is going to come; so this year has been about maintaining my work. My new album is out in September, and is based around the idea of Batman, Gotham and this city of sin, a place we can all mentally fall into, and dealing with the labels that get placed on us." @nauti.c.a

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newmarket.co.nz

@newmarketnz

FASHION LIFE IN CLOTHES

A certain "crispness" is what makes an Emilia Wickstead design stand out from the crowd. The London-based New Zealand designer has cultivated a signature style over the years, worn by the likes of the Duchess of Cambridge and Nicole Kidman. But it's the women with no particular claim to fame who inspire her the most — her circle of friends and colleagues, for example, who are captured in her latest pre-fall 2020 campaign. The collection is now available in New Zealand for the first time at Simon James. Featuring mothers and their children, the campaign highlights Emilia’s passion for dressing women from all walks of life. “Growing up I was heavily influenced by two generations of women in my family: my mother, who worked as a fashion designer in New Zealand, and my grandmother,” she says over the phone from London. “Both remarkable women with good taste, who taught me the value in a considered approach to dressing." Simon James director Georgina McCormack says the presence of Emilia’s designs in the local market signals fresh optimism for what’s to come. “When you put her clothing on, the quality and cut of each piece is undeniable, it is effortless to wear and beautiful to look at. Her clothing has universal appeal.” — Dan Ahwa Read our interview with Emilia at Viva.co.nz.

Jewellery designer Sabine Getty with her son Jupiter. Photo / Edd Horder

State of Grace

An elegantly cut suit, a modest dress and the dignified halo of a wide-brimmed hat. In times of strife, find comfort and confidence in sartorial lessons gleaned from those that came before. The hallmarks of Sunday-best dressing remain steadfast in their power to lift your spirits and take you higher

PHOTOGRAPHY Hōhua Ropate Kurene FASHION DIRECTOR Dan Ahwa

MODELS Aasha-Samara Nimo Isabella Moore Manahou Mackay Ngahuia Williams

Strongest Suit (Opposite) Ngahuia wears Gucci shirt and blazer. Vintage hat, POA, from Go Jo Recycled Store. Pounamu earrings model’s own. Soft Power Manahou wears Kate Sylvester blazer $549 and trousers $429. Rory William Docherty shirt $940. Vintage tie, $15, and hat, POA, from Go Jo Recycled Store.

White Sunday Aasha-Samara wears Gucci top and heels POA. The Row skirt, $2150, from Scotties Recycle. Hills Hats hat $115. Vintage Miss Crabb gloves POA.

Sunday Best BY COURTNEY SINA MEREDITH

unday Best? Well, those two words for me conjure up memories of having my nails clipped to the nub! And my hair being combed back so tightly that my eyes went squinty! (My grandmother would call me "saiga!") In my first book, Brown Girls in Bright Red Lipstick, I described myself as a "granddaughter of Samoan migrants". This small sentence was a reckoning for me. If I could go back eight years and rewrite that line, I would name them what they truly were: pioneers. My life began in a state house in Glen Innes. There were three generations under one roof. My uncles worked passionately on their cars in the backyard and my aunties were constantly on the move; flitting from work, to parties and classes at university. Always there was laughter and a hint of something exciting about to happen. My mother was my whole world, and we shared a bedroom barely big enough to swing a cat (although we did have two small dogs, Scruffy and Tammy) with her teenage sister. It was an endless array of getting ready to go play at the park or preparing for visitors, meaning the house had to be scrubbed from top to bottom. It was a tiny house but a big home filled with love, and music. In the hallway hung one of my grandmother’s greatest treasures — a holographic Jesus clock. As you walked towards the ornate time machine, Jesus came into blue-hued view, only to morph into Mary, praying, once you passed by. This clock, along with rosary beads blessed in Mexico by the previous Pope, and her cherished Jesus velvet wall tapestry that dominated half a wall in the living room — gave an insight into what Rita Sina Meredith held dear. As a creative Rita was a dexterous maker and baker and so painfully shy. But in the sanctity of her home and around her aiga — she simply lit up.

Working in a denim factory for many years, she made clothes for her six children and later for her grandchildren too when we came along. During this period, my grandfather drove trucks and sung his heart out on the roads. The Samoan Sinatra of our family. While my mother studied to gain a qualification in journalism, which would later land her roles in newsrooms around Auckland, and while the other adults ventured into town to their respected workplaces — our grandmother took care of my cousin Danielle and myself. It was heaven. My greatest possessions back then were my formal dresses, bought especially to wear to church. I have special memories of wearing them to Sunday school, to midnight mass, and even to kindergarten; they were lemon, pink, cream, frilly and full of promise! Dressing up was about looking and being your best, but it was also a representation of the family you came from. To be presented, in freshly pressed beautiful clothes, meant you left the house with your head held high, ready for anything. I acknowledge the great spend my grandparents and my mother invested in me and how this is at the heart of my success and never lost on me. I think this is a foundational truth that many of my generation carry. No matter how fast our lives become, or how many personal goals we achieve, our progress is rooted in the emotional labour of those who came before us. I hold this sacred period in my mind’s eye, with great alofa. I think of my late grandmother, and all the words she wanted to say but never had the space, or the opportunity, or simply the time to. I think of her while I am combing the hair of my beautiful stepsons and washing their faces in the morning before they leave for school. "Say everything in your heart. Your feelings are important. And when you leave this house, you take us all with you."

Courtney Sina Meredith is the director of Tautai Gallery and the author of Brown Girls in Bright Red Lipstick.

Sunday Service (Opposite) Isabella wears Juliette Hogan dress $769. Swarovski earrings, $299, from Smith & Caughey’s. Power & Glory Ngahuia wears Adrienne Winkelmann jacket $1799 and skirt $674. Karen Walker heels $325.

Take Me to Church (Opposite) Aasha-Samara wears Adrienne Winkelmann jacket $1199 and trousers $1299. Mi Piaci heels $280. Hat (customised), $15, from Sweet Clothing. Fan stylist’s own.

Fully Dressed Isabella wears Layplan dress $450. Aolele earrings POA. Mi Piaci heels $280. Custom hat, $35, from Four Seas Trading. Fan stylist’s own.

Keep the Faith Ngahuia wears Rory William Docherty dress $915. Gucci heels POA. Belinda Green Millinery headband $45. Jason Nathan pounamu pendant and earrings model's own.

Carry On Aasha-Samara wears Twenty-seven Names dress $490 and blazer $740. Karen Walker heels $325. Bible bag, $15, from Universal Sportswear Ltd. Hat stylist’s own.

Higher Ground Isabella wears Kate Sylvester dress $799. Belinda Green Millinery hat $90 (for hire). Plantation House earrings POA.

Heaven & Earth Manahou wears vintage dress, POA, from Painted Bird Vintage. Hat, $190, from Hills Hats. Gucci 'Jackie 1961' handbag $2480. Models: Aasha-Samara Nimo. Isabella Moore from Unique Models. Manahou Mackay and Ngahuia Williams from N Model Management. Photographer’s assistant: Karita Siakisini

KINDRED SS20 Take a look through our female-focussed lens. A curated and considered collection by New Zealand women, for all women. In-stores & online now.

mipiaci.com

WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR 1.

WHAT TO WEAR NOW It’s been a definitive year so far, and one that’s made us re-evaluate the way we dress under extraodinary circumstances. Emma Gleason investigates the key fashion movements right now

Fashion reflects the times. During a turbulent year, what we choose to wear speaks volumes — reflecting what’s going on around us, who we are now, and where we hope to go next. Clothing is the social framework helping us to communicate our identity and feel a sense of belonging, combining fantasy and reality, incorporating the past, present and future all at once. As we try to make sense of the historic period we’re living through, fashion can reveal how we’re coping with it all. NOSTALGIA POWER What is it? We love looking back. The latter half of the 20th century has been mined intensively for inspiration in recent seasons, and there has been a renewed appreciation for the clothing of pre-industrial eras — think voluminous dresses, operatic sleeves and prairie-inspired silhouettes. Streetwear is getting bigger and baggier, with loose denim and bucket hats harking back to the 90s and the glitz of the early 2000s. Menswear is particularly nostalgic at the moment, with a louche glamour combining 70s style with kitsch (hello, Harry Styles). Luxury fashion brands

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have delved into the archives to reinforce their design legacy; Gucci welcomed the return this year of the Jackie bag, popularised in the 60s. The past is complex, however. Nostalgia can be a form of deception, both for ourselves and the time period we’re referencing. It all depends on who is doing the reminiscing, and whether critical thinking is being practiced. The frantic pace of fashion, media and pop culture has meant repackaging the past is often easier than designing something new. Vintage pieces are easy to replicate, and familiar silhouettes are easy for consumers to digest. Nostalgia can serve as a powerful tool to reframe history and spotlight cultural significance. Grace Wales Bonner is a prime example of this. The intellectual British designer recently explored the history of the Afro-Caribbean music scene of 70s Britain and its role in her own community.

Why now? Nostalgia is escapism. Given the global events of 2020, it’s comforting to look back. It assuages uncertainty and fear and allows us to grapple with periods of turbulence by thinking of a more stable time. Nostalgic dressing allows us to reflect on the mood of the present by channelling values or ideology of a particular period — such as the counterculture movements of the 60s and 70s, the Gen-X apathy of the 90s, or the resilient austerity of wartime fashion. What feels unique about now is the concurrence of our references — it’s not just that "the 80s are in", it’s that all these nostalgic homages and reinterpretations are existing at once — side by side, layered and intertwined, capturing the chaotic melange of our increasingly digital world. And for 2020, a year when time feels like a flat circle, a cocktail of nostalgia feels rather apt.

TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR 6. 1. Versace resort 2021. 2. Wales Bonner fall 2020. 3. Vintage Thornton Hall dress from St John community store Papakura, photographed for Viva, October 2019. 4. Victoria Beckham fall 2020. 5. Penny Sage spring/ summer 2020. 6. Copenhagen Fashion Week guest August 2020. 7. Karen Walker Botanist's dress. 8. Harry Styles wears Gucci. 9. Imani Randolph @champagnemani. 10. The Good Life (1975). 11. Laura Ashley campaign (1989). Photos / Getty Images, supplied

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COTTAGECORE What is it? An aesthetic driven by pastoral fantasy, this wholesome trend is tied to the expansively nostalgic mood. Though born on the internet, cottagecore is rooted in idealising a vision of rural life. The look is bucolic and quaint, with floral dresses, headscarves and hand-knitted cardigans, alongside a visual cornucopia of rustic bread, wildflowers, embroidery, straw hats and patchwork quilts. An evolution of the prairie dress trend that began in 2018, cottagecore encompasses a wider lifestyle, or at least the appearance of one; combining aesthetics with action, it celebrates simplicity, craft and sustainability. Why now? Decidedly pleasant with its rustic charm and feminine sweetness, cottagecore is a far cry from the dystopian present, and it has understandably gained traction in the hermitage of lockdown. Taylor Swift’s latest

album Folklore (created in isolation) is steeped in the aesthetic, as is the imagery deployed by brands like Simone Rocha, Jacquemus and Batsheva. By combining the idea of agrarian communities with the individualistic self-sufficiency of pre-industrial economies and domestic work, cottagecore provides a comforting sense of control and safety. It all seems rather harmless and wholesome, however, ideologically cottagecore warrants a closer look. Initially this trend was driven by queer youth, as a self-care-adjacent way of embracing a sense of home, along with those rejecting the hyper-sexualisation of the media. Due to its celebration of domesticity and traditional femininity it has also been adopted by conservative groups. Additionally, cottagecore has even been viewed as being symbolic of frontierism and the ideology of Manifest Destiny.

Still love floral dresses and gardening? That’s okay. Cottagecore has its appeal and its faults, and as with all trends it’s important to understand the socio-cultural context around the movement and where it came from — be an informed engager.

WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR 2.

1. Benjamin Alexander 2. Comme de Garçons fall 1994 3. Prada spring/summer pre-collection 2020. Photos / Getty Images, supplied

SERIOUS STYLE What is it? Balenciaga’s apocalyptic Paris Fashion Week show back in March kicked things off with prescient timing, as did the label’s unsettling newsreel-style campaign video the month before. A post-apocalyptic aesthetic feels apt this year, channelling the malaise and apathy that underscore the dystopian events of our present world through futuristic materials and distressed finishes. Customisation and upcycling allude to a vision of the future where resources are scarce and waste isn’t an option, while survivalists are paid dues with camouflage, neon and utility details. Masks are the norm now. Rick Owens is enjoying an upswing in popularity, while the back catalogues of Alexander McQueen, Rei Kawakubo and Martin Margiela feel more relevant than ever. Cyberpunk, a genre and aesthetic first established in the 60s, unsurprisingly endures in fashion due to its framework of societal decay, failed states and technocratic hegemonies. Another look that’s bound with nostalgia, TikTok trend “Dark Academia” is a sartorial tribute to learning and history. Scholarly with a vintage undercurrent, this intellectual aesthetic incorporates tweed jackets, turtlenecks, berets and knitwear. The trend combines Ivy League style with the visual culture of British boarding schools, and references to literary heroes like Donna Tartt. Unlike its preppier cousins, the look leans heavily towards classical and gothic. Romanticising academic life is an understandable fantasy for the students around the world who find themselves studying at home, and dressing the part feels even more

important when the other trappings of a role are taken away. Protest and social justice have defined 2020 as much as (and because of) the global pandemic, which has thrown the economic inequalities of minority communities into the foreground. The fight for racial equality is regrettably far from new, and many old stories and images of protest movements have resurfaced. Elements of the clothing worn by the civil rights movement have been adopted by a new generation as an homage to those that came before. Protest movements have long utilised the power of fashion to make a political statement; in the 60s the Sunday Best dressing of the non-violence movement challenged assumptions around rebellion (a tactic recently deployed by some Black Lives Matter protesters) while the reclamation of denim by activists like Joyce Ladner symbolised stagnation and oppression. The Black Panther Party’s striking uniform referenced the militancy of other resistance movements, and was powerful and combative in its unity; elements of their dress have been adopted by contemporary activists and designers. Why now? You can’t deny that 2020 feels like a fever dream. We’re living in a dystopian film, arguing about climate change while populist politicians stoke culture wars, freedoms are eroded globally, and people protest their right to not wear a mask during a global pandemic. Dressing more seriously feels like the right thing to do.

TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR 1.

GET IN CHARACTER What is it? There’s an upbeat novelty to character dressing — rather than be ourselves, we can be another version of us (or someone else entirely) by adopting a theme for the day’s outfit. To alleviate the boredom of lockdown, the Metropolitan Museum of Art encouraged followers to dress up as their favourite artworks, FancyDress Friday was a thing for a while, and people are enjoying the operatic glamour of big dresses and bold makeup. An age-related element is at play too, with fashion drawing inspiration from both the old and young. The former is seen in the emotive comfort of chunky cardigans and corduroy, the stuffy sweetness of a Laura Ashley dress, and layers of accessories and colour. Subversive if not edgy, character dressing celebrates sentimentality and the resourceful make-do-and-mend attitude of the older generation. This age-less attitude skews young too. There’s a touch of regression to current fashion trends, with childlike style having a resurgence — like T-bar sandals, smocked dresses, and twee prints. Why now? Fashion right now provides a sense of freedom, and understandably so. When reality is unbearable, we try to lose ourselves in fiction — on the page, on our screens and in what we wear. From an early age dressing up allows us to explore our creativity and roleplay identities. Creative expression encourages a carefree feeling. With travel on hold, we’re finding other ways to venture beyond our own reality.

1. The Elder Statesman resort 2021. 2. Copenhagn Fashion Week guests in August. Photos / Getty Images

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4. Prada. 5. Papa Clothing. 6. General Sleep. Photos / Supplied

1. Blue Marble spring/summer 2021. 2. Jacquemus spring/summer 2021 3. MSGM. Photos / Getty Images, supplied

GREAT OUTDOORS What is it? Tangentially tied to cottagecore (both share some of the same foundational values) this approach to dressing is more rooted in practicality and action. It sees a return to purposeful, pragmatic clothes — designed for the outdoors or, at the very least, to look like they’d fit in there. The aesthetic incorporates hard-wearing fabrics like denim and corduroy, utility pockets, hats, sensible knits. Everyone’s wearing Crocs now, and donning brands like Patagonia signals an outdoorsy lifestyle and sustainable values. Why now? Reflective of shifting priorities, this look signifies the pragmatism and resilience needed to navigate 2020. It’s nostalgic too — alluding to periods where we were less plugged-in and more self-sufficient. Nature is more alluring than ever after a great portion of the year spent indoors; locally, activities like hiking, camping, and scenic vistas play a key role in domestic tourism — so we dress accordingly. It’s wholesome and hopeful.

CLOTHING CONSCIOUS What is it? More a wider movement (we hope) than a trend, an ethical approach to fashion has been a hot topic this year, as labels look to integrate better practices and increased transparency into their operations. Consumers and brands alike have been forced to pause and reassess how they do things, and the industry is currently undergoing a monumental period of flux, grappling with the issues of sustainability, globalisation and inequality. Locally, Mindful Fashion NZ launched its Love Local campaign in July to support the future of fashion here. Meanwhile overseas, fashion leaders like Dries Van Noten have called on the industry to use this period to adjust the seasonal model and slow down the unrelenting pace. Above all it’s clear that the issues the industry must address do not exist in isolation, rather they are at the intersection of wider inequalities around race, privilege, gender and the environment. Why now? It’s not just what we’re wearing that has been influenced by the events of 2020, the fashion industry itself has experienced dramatic change (what many see as a course correction after decades of unfettered growth, squeezing bottom lines, and profit at all costs) with disruption highlighting the fragility and inequalities of the global supply chain. The human price we’ve paid to see blue sky in Delhi has given us a brief glimpse of what our world might be like, starkly revealing the impact we have and how urgently we need to slow down — which may be the most important trend of all.

TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR NOW? WHAT TO WEAR 1.

1. Sara Battaglia spring/summer 2021. 2. Christopher John Rogers autumn/winter 2020. Photos / Supplied

EXPRESS YOURSELF What is it? Identity and individualism are being embraced by fashion as we seek to define who we are, celebrate our culture and share it with the world. As the industry begins to decolonise itself there are different stories being told and new voices at the table — or in spaces they have created themselves. Locally a new wave of emerging indigenous labels are coming through the industry, like Layplan, Adrienne Whitewood and Campbell Luke, joining established designers like Kiri Nathan. Globally the Black in Fashion Council, launched in July, works with companies like Condé Nast and Glossier to address diversion and inclusivity. Fashion is being used to reframe Black identity in the mainstream, with Beyonce’s recent visual album Black is King a testament to Afro-centric history and culture — presenting both the unity and diversity of the continent and diaspora, elevating Black creatives, and spotlighting pre-colonial history. Why now? Racial injustice has been a defining narrative of 2020, as much as the pandemic (the two are intertwined because of entrenched inequality) and the volume has been turned up on conversations around culture and identity. On the fashion front, sustainability and equality have fuelled a move for greater transparency and support, while the increased democratisation of fashion by social media (heightened by months spent indoors) has thrown the landscape of fashion wide open. 2.

Shop the latest and the very best of the best in top fashion brands sourced from both local and international labels. Threads is your one stop shop for all things designer. THREADS lets you fill your wardrobe with highend fashion such as Sass & Bide, One Teaspoon, Rough Studios, Rails and D.O.F. to name a few. Happy Shopping!

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FASHION DIRECTOR & WORDS Dan Ahwa TEXTILE DESIGNS Amber Rixon from Still Life

Siouxsie Sioux. Kate Bush. Helena Bonham Carter. English Romanticism, art school aristos, Portobello threadbare and glam rock converge for a nostalgic throwback to a time when fashion felt expressive and experimental. The 80s are often unfairly characterised as an era that style forgot. Yes, there were leg-warmers and frizzy perms, but scratch a little deeper and you’ll be reminded of its more artful merits, fuelled by the progressive sound of New Romantics, punks and ska. While many of us toyed with selfexpression from the chest up over lockdown — with interesting tops and the familiar security of personal jewellery — 2020 has only re-affirmed a desire for individual expression. We’re drawn to the artful individualism often harnessed by the Brits; that distinctive magpie approach to dressing combining vintage, humour and glamour. New Zealanders understand this too, with our penchant for artful layers, local craft and rummaging through racks of pre-loved clothes.

As designer Luella Bartley wrote in her 2012 book Luella’s Guide to English Style — a veritable romp through town and country — this mix of prim Sloane tradition and unabashed teenage rebellion is what makes the dichotomy even more interesting now. Take Kate Sylvester’s Exploding Woman collection with its delirious prints, or Wynn Hamlyn’s subversive knitwear; they reflect the universal desire to dress as an individual — sometimes idiosyncratic, and totally eccentric — that might just get us through times like these. Exploring both taste and irony, model and musician Lily Frances takes on artful layering and whimsical prints with unapologetic joie de vivre.

Happy House Trippy floral prints inspired by the rave scene encourage a positive state of mind at all times. Pleats Please by Issey Miyake poncho, $550, from Scotties. Vintage hat, POA, from Go Jo Recycled Store.

BSTRACT

PHOTOGRAPHERS Karen Inderbitzen-Waller and Delphine Avril Planqueel

ExpressIons

Karma Chameleon Designer Madeleine Richards, has a refreshingly whimsical approach to her designs for her label Daylight Moon, especially this swishy threetiered skirt with raw selvedge edge hem $320, matched with a mohair wool blend cardigan, $399, from Stolen Girlfriends Club. Tommy Hilfiger shirt, $159, from Smith & Caughey’s. Roy Mason bangle, $980 (large), and $720 (small), from Fingers. Cos boots $399.

A New Romantic Marni’s creative director Francesco Risso showcased a riotous collection in Milan, exploring themes of nature and humanity, combined with “the WTF of this particular and hard moment” in history. Semi-fauvist paintings created by Francesco and his team are reflected in this bold print, perfectly matched with this impactful backdrop by textile designer Amber Rixon, of Still Life. Marni top, $1350, and skirt, $2000, from Scotties. Kathryn Wilson heels $289. Antique Chinese stools, $450 each, from Babelogue.

Beauty notes M.A.C Cosmetics global senior artist for New Zealand Kiekie Stanners shares the inspiration and products used to achieve this high-octane look. “Taking cues from the New Wave movement, the changing of guard from the punk revolution to a new uplifting and slightly quirky New Wave mood, my beauty reference is all about the attitude that makeup can create and the self-assurance that brings. In these times, beauty needs to be all about self-expression and the power that comes from painting your face.

Eyes: M.A.C #Humblebrag Eye Shadow, Carbon Eye Shadow, Brushblack Brushstroke Liner, Big Boost Fibre Gel Brows. Lips: M.A.C Burning Love and Smash Powder Kiss Liquid Lipcolour Skin: M.A.C Studio Fix 24-Hour Smooth Wear Concealer, Pro Face Palette Blush: Bright Blush.

The Sensual World After living in Australia, fashion designer Annie Bonza returned to New Zealand in 1966 to launch her eponymous label, telling the New Zealand Fashion Museum “the writing and doodling started off as me wanting to be able to say that ‘this is Kiwi, this is New Zealand/Aotearoa’. It was aimed at an identity thing.” This vintage Annie Bonza dress from the early 1970s features an intricate braiding technique at the bodice, something she attributes to the influence of famous weaver Dame Rangimārie Hetet, who taught her Māori craft at Te Kūiti High School.

Annie Bonza vintage dress available for hire from Go Jo Recycled Store. Beatrice Carlson neckpiece, $1500, from Liz Mitchell. Belinda Green Millinery headband $45. Jerome Dreyfuss boots, $990, from Scarpa. Vintage stool, $65, from Babelogue.

Nostalgia of Mud When Vivienne Westwood and Malcolm McLaren debuted their collection, Nostalgia of Mud, a translation from 'nostalgie de la boue' from Tom Wolf’s Radical Chic, in Paris in 1983, Malcolm explained that the goal was “to show in clothes and music that, in the post-industrial age, the roots of our culture lie in primitive societies”. This idea of more organic forms of dress and adornment challenges us to go back to basics and reflect on how we dress now. Wynn Hamlyn top $225. Liz Mitchell skirt $995. Beatrice Carlson necklace $995 and Janice Miller crochet scarf $695, from Liz Mitchell. Silver bangle set, $250, agate pin $150, turquoise pin $175, pewter concho belt $300, turquoise ring $150, tourmaline ring $85 from Silver in the Cloud. Roy Mason bangle, $980 (large) and $720 (small) from Fingers.

The Clash There are no rules when it comes to individual style, so when mixing prints, go to town. The kitsch of a tropical print shirt takes on an unadulterated cool vibe when worn with contrasting pieces like a western belt and a leather blazer. Vintage shirt, $55, from Go Jo Recycled Store. Maison & Scotch skirt, $330, from Smith & Caughey’s. Georgia Alice leather blazer $1599. Vintage Sylvester belt stylist’s own. Turquoise pin, $175, from Silver in the Cloud.

Hope Road Penny Sage designer Kate Megaw's latest collection features this charming floral print, evocative of the trippy flower power era of the 60s. Who wouldn’t want to escape to the hedonistic fun of that period? At least we can daydream with this coat $520 and matching bucket hat $190. Levi's jeans $150. Silver bangle set, $250, from Silver In The Cloud. NZ Sock Co socks $40. Dr. Martens shoes, $379, from Playpark by Karen Walker. Model: Lily Frances from Unique Models Makeup: Kiekie Stanners for M.A.C Cosmetics Hair: Sophy Phillps at Common People using Oway. Shoot assistant: Phoebe Stanford

Nature’s Best Perhaps it’s our ingrained affinity with the environment, or the cleangreen image we’re trying to live up to and protect, but local designers are leading the vanguard of slow and sustainable fashion. Most notable on the global stage is Kowtow. Founded by Gosia Piatek (now based in London) and centred on organic cotton and transparent manufacturing, the fashion label has set the bar for the future of design in Aotearoa. Rainer wears Kowtow dress $349, and hat $99. Mi Piaci sandals $260.

PHOTOGRAPHER Karen Ishiguro

STYLIST Sammy Salsa

New Zealand's style is firmly rooted in a sense of place, which continues to deepen as the world spins around us. Whether it’s the dark poetics of our Southern roots swathed in layers of black and tartan, our powerful pool of indigenous designers, or our progressive stance on ethical fashion, how we dress is based on strong foundations

Artful Layering A result of our temperamental subtropical weather and appreciation for comfort and modesty, layered dressing is something we're known for. Though the dark layers of 'the Dunedin look' come to mind, we’re also good at a lighter variation, exploring the flounce and flourish of romantic fashion, an aesthetic that nods to the impact and legacy of our colonial past. Rainer wears Karen Walker shirt $545. Maggie Marilyn dress $1200. Ruby pants $269. Earrings, POA, from Little Natives.

Homegrown Aotearoa Style Local fashion is shaped by what came before it. The 90s were a definitive period for style in Aotearoa when the concept of what was "fashionable" was revolutionised. Streetwear labels and designers from Māori and Pasifika heritage received acclaim and respect as fashion evolved beyond what was dictated by the status quo. The foundation that was created remains. Figures like Kiri Nathan are nurturing a community of indigenous designers, while streetwear remains a pillar of our relaxed approach to getting dressed. Ariki wears Levi’s shirt $140 and jeans $170, Kate Sylvester bucket hat $99, Zambesi jacket $595, Stolen Girlfriends Club boots $449. Opposite: Rainer wears Kiri Nathan dress $750, silk trousers $610 and hand-woven poutama design kākahu (worn around waist) $3400. Earrings, POA, from Little Natives.

Outdoor Wear No local leaves home without a jacket or a jumper. Not a nation of coat wearers, though most of us have one, instead we prefer a combination of lighter pieces to withstand the elements and navigate our changeable climate. Khaki outerwear is a signature New Zealand look, calling to mind vintage finds at the army surplus store, an iconic Swanndri, or a modern classic from Huffer. Outnumbered by sheep and famous for our wool, knitwear is a fundamental part of New Zealand wardrobes too, and a cheerful jersey has validity throughout the seasons. Rainer wears Sylvester jumper $239. Liz Mitchell shirt $1295 and trousers $995. Opposite: Ariki wears Huffer jacket $300. Zambesi shirt $650. Salasai trousers $325. Rainer wears Ruby jacket $299. Kowtow jeans $259.

Sports Club Sport has shaped New Zealanders' style, whether we follow it or not. Uniforms have found their way off the field, infiltrating the wardrobes of sporting fans and foes — with rugby jerseys, tracksuits and a field of other garments becoming everyday dress. Though our national rugby team made it famous, the colour black has become the unofficial uniform of New Zealand at home and abroad — its significance entrenched by designers NOM*d and Zambesi in the 90s, Jimmy D in the 2000s, and it endures today as our signature hue.

Rainer wears rugby shirt, $229, from Good As Gold. Sylvester skirt $299. Chisel rugby socks, $15, from Farmers. Karen Walker boots $495. Ariki wears AS Colour bucket hat $28. Zambesi bag $350. Papa Clothing trousers $320. Stolen Girlfriends Club boots $449. Chisel rugby socks, $15, from Farmers.

Opposite: Rainer wears Stolen Girlfriends Club hooded knit $419. Camilla & Marc shirt $359. Karen Walker skirt $525. Columbine stockings, $15, from Farmers. Dr. Martens boots $329. Ariki wears Nom*D hoodie $360 and T-shirt, $150. Ksubi trousers $240. Mazzoni socks, $13, from Farmers. R.M. Williams boots $645.

Hair and make-up: Kath Gould using Dermalogica, Mecca and Iles Formula Models: Rainer and Ariki N Model Management Location: Thanks to Lewis Francis

Leftfield Rosé $17.99 leftfieldwines.com

Leftfield Pinot Noir $17.99 leftfieldwines.com

SHOP AROUND

If retail therapy is on the cards, these of-the-moment moods might just help spark some divine inspiration

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THE TECH EDIT 10

I.T. CROWD For anyone old enough to remember The Jetsons, you’ll recall the popular 1960s cartoon — later resurrected during the 80s — centred around the Jetson family in the year 2062. They lived in a utopian future with a three-day working week and incredible conveniences, like a robot maid, that left them with plenty of leisure time. How ironic. That future dreamed up by Hanna-Barbera Productions is a reality we’re living in now, and while there are indeed conveniences we can put down to advances in technology, it’s also made many of us work more. It pays, then, to invest in products that really make a difference to our lives, because good technology and good design aren’t mutually exclusive, as these shiny new products prove. — Dan Ahwa

The work of multidisciplinary New Zealand designer Max Mollison

Lily Tomlin in 9 to 5 (1980)

1. M·A·C Dazzleshadow Extreme $40. 2. Tom Ford Métallique 50ml eau de parfum $250. 3. Jimmy D kaftan $535. 4. Ultimate Ears UE wireless portable Bluetooth speaker, $259, from PB Tech. 5. YSL Rouge Volupte Rock’n Shine $69. 6. Rolex Everose gold and diamond watch $33,350. 7. Patagonia duffel bag, $230, from Slick Willy’s. 8. Calvin Klein Jeans bucket hat $77. 9. Huffer Gortex jacket $599. 10. Beats Studio3 wireless headphones, $500, from Apple. 11. Dimplex DC Tower Fan $300. 12. Polaroid 600 Type Square instant camera $330. 13. Angel Chen x Adidas sneakers $210. 14. Lexar 32GB USB stick, $20, from NZ Games Shop. 15. Knuefermann wireless phone charger $39. 16. Wynn Hamlyn face mask $35. 17. Bellroy 3 card phone case $109. Try our Max Mollison x Viva AR Instagram Filter @NZHVIVA, and read about Max's work at Viva.co.nz.

Our new Stay Loose and High Loose Jeans have arrived. Made with supersoft Cottonised Hemp. Why hemp? It grows faster, uses less water and leaves cleaner, healthier soils behind. Responsibly made for a better planet. Learn more at levis.co.nz/discover/sustainability

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THE HAPPY EDIT

POSITIVE INFLUENCE

You’d be forgiven for needing to catch a breath lately. As we look to the start of a new season, consider the uplifting effect of a saturated hue or a whimsical print to help conjure happy thoughts and feelings. Whether it’s a bubblegumpink bag from Saben, or the retro trippy prints courtesy of Twenty-seven Names and Penny Sage, now’s the time to shake off winter’s blues and turn your face towards the sun for a little clarity, energy and optimism — because life is far too short to wear dull clothes. — Dan Ahwa

1. Twenty-seven Names T-shirt $260. 2. Mita scrunchie $9 (from selected pharmacies). 3. Baserange bra, $135, and pants, $95, from Penny Sage. 4. Love Chopard EDP 50ml $149. 5. Victoria By Victoria Beckham dress, $1250, from Adorno. 6. Timberland x Liberty London sneakers, $200, from Solect. 7. Penelope Barnhill drop earrings, $230, from The Poi Room. 8. Saben bag $349. 9. Rixo skirt, $429, from Maman. 10. Ruby face mask $25. 11. Zelda Murray earrings, $240, from Penny Sage. 12. Valentino sunglasses $330. 13. Comme des Garcons Play T-shirt, $170, from Plume. 14. Richard Parker ceramic dish, $95, from Masterworks Gallery. 15. Isabel Marant trousers, $779, from Workshop. 16. Hope shirt, $445, from Caughely. 17. Cooking For Optimists by Nicole Stock, $34, from Everyday Needs. 18. Birdsnake Coco Mylk Chocolate, $13, from Worktones. 19. Gucci Chinese Valentine’s Day GG shoulder bag $2640.

Judy Garland in Get Happy (1950)

SPRING/SUMMER 20/21 GREEK ISLAND DREAM HOLIDAY The ultramarine blue skies, the brilliant turquoise of the Aegean Sea, the white sugar – cube houses covered in bougainvillea, and the vibrantly coloured caique fishing boats all inspired this summer collection. The pieces are beautifully tailored, easy to wear, easy to pull together, comfortable and casual, but elegant in luxury European fabrics all dyed to my own Greek-island inspired colours.

AUCKLAND · WELLINGTON · CHRISTCHURCH · ONLINE

j a n e d a n i e l s .c o. n z

Portrait of a Lady on Fire. Photo / IMDb

THE SENSUAL EDIT

FEELS GOOD Romance yourself with evocative shapes and alluring textures to bring some sensuality to daily life

Seduction can be subtle, and it’s far more exciting when it’s unexpected. From the skin-tingling texture of satin to curvaceously smooth surfaces and the power of scent, the simplest things can have a stirring effect on the senses. After a suppressive and cloistered year, embrace some romance this spring by indulging in mindful intimacy, beautiful things, and taking the time to enjoy it all thoroughly. — Emma Gleason

Bjork in 'Big Time Sensuality' (1993) Photo / Getty Images

1. Hera Saabi ring $540. 2. Citta martini glass, $50 for a set of two. 3. Standard Issue singlet $149. 4. Savage x Fenty hosiery $60. 5. Ruby dress $349. 6. Baina hand towel $45. 7. Raf Simons charm, $300, from Zambesi. 8. Natalia Peri earrings $209. 9. Paco Rabanne earrings, from $561, from Farfetch. 10. Curionoir 'Orpheus Incarnate' candle $210. 11. Rings $1150, $1600 and $3350, from Partridge Jewellers. 12. Calvin Klein briefs, $55, from Smith & Caughey’s. 13. Starving Artists Fund crop top $50. 14. Cire Trudon Josephine Room Spray 375ml, $299, from World Beauty. 15. Bottega Veneta clutch, from $847, from Net-a-porter. 16. M.A.C Fix+ Vibes in ‘Compassion’ $28.

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See stockists on page 159.

Prada SS21.

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Self S VIVA + GALAXY Z FLIP

To celebrate the release of the covetable new Samsung Galaxy Z Flip, we enlisted four stylish women to share a slice of their lives under lockdown – capturing their style and identity through the power of great selfies.

JAYCEE TANUVASA Interdisciplinary artist, activist, Mother of 'House of IMAN’ What makes a selfie so empowering? As a trans woman of colour, having the nerve to exist in a world that doesn’t view me as equal is a political statement, so taking a selfie – whether it’s a serious, well thought-out one or not – is impactful because it tells people that I’m here to stay!

@jaycee_babyyy

“My personal style is forever changing. If I'm not dressing in a way that helps me survive trans discrimination and violence I’d say that my style is very inspired by the early 90s era... and what I can afford and fit. I’m also exploring ideas of beauty outside the male gaze and finding comfort in being authentically me and really dressing for my joy.”

Style +

VIVA + GALAXY Z FLIP

Originally planned as a traditional shoot, level three restrictions saw us flip the concept entirely – with our subjects capturing themselves with the exceptional camera power (and game changing hands-free foldability) of this sleek new phone from Samsung.

BRIAR BARRATT-BOYES PR, fitness “2020 has flipped things for me in a much more positive way than I ever expected... It’s truly made me realise how lucky I am to have my health, be in a position to support myself, and treasure everyone I have around me.”

What makes a selfie so empowering? It’s you making the decision to put together this picture exactly how you want it. When I started to see results on my fitness journey, I would be so proud to upload a selfie and feel super confident in doing so! I was working hard to achieve results so was happy to share that with my followers. It’s really something to be able to share yourself in a way that could be vulnerable, but flipping that to make yourself feel fab and strong.

@bbb.fit

VIVA + GALAXY Z FLIP

NICOLE KU Photographer, fashion stylist What is your communication style like? I prefer visual and audio forms of communication, whether they be through photographs, phone calls, video calls, or faceto-face discussions. I'm a very visual person so when I can see something or someone, I absorb the information a lot better. I love using the Samsung Galaxy Z Flip phone's folding feature to stand it anywhere so I can have my hands free to cook, while video calling a friend! @nicrific

“What I love about fashion and beauty is that you can really mould yourself to be whatever and whoever you want.” 86

VIVA + GALAXY Z FLIP

MORGAN LEARY Musician, filmmaker How has your 2020 been flipped? Our wedding is postponed! I was meant to be touring Japan with one band and promoting an album for another, instead it’s been a lot of lovely family time – we were lucky enough to have bought a home out west. I’ve also been blessed with a little bun in the oven. I hope it plays drums. That’s the only instrument we have going vacant in the family band. @small_moe

"The self-reflexivity of the selfie is a badass concept, like literally taking back 'the gaze' as it were."

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From new launches to must-have products this spring, our friendly knowledgeable staff can help you select the skincare that’s right for you and offer expert advice to refresh your look or find the perfect scent for the season. With a great range of brands to choose from, and over 60 stores nationwide, pop into your local Life Pharmacy for a complimentary skin consultation and discover how to unlock a more radiant you.

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FRESHLY SQUEEZED

We’re well-versed in popping our daily dose of vitamin C for its myriad health benefits, but its long list of perks to skin from its topical application are equally as impressive. This highly effective antioxidant has been proven to help brighten up a dull complexion and erase sun spots, all while reversing the visible signs of ageing. “Vitamin C is one of the best antioxidants to diminish hyperpigmentation, fine lines and visible sun-damage, as well as promote collagen production,” says Biologi founder and cosmetic chemist Ross Macdougald. “It’s a potent antioxidant that can neutralise free radicals and aid your skin’s natural regeneration process, helping to repair damaged skin cells. Because of this, it’s a well-known brightening agent that encourages cell renewal and can be instrumental in reducing scars and spots,” he says. Beyond brightening, vitamin C can be instrumental in firming the appearance of skin, with many brands speaking to its ability to tighten the skin around the neck and décolletage. Today, vitamin C is the hero ingredient in a variety of “#shelfie worthy” products. From gritty powders and gel serums, to foaming cleansers and creamy moisturisers, discover our picks of powerhouse products here. — Ashleigh Cometti For tips on how to incorporate vitamin C into your daily skincare regime, visit Viva.co.nz/beauty.

Clockwise from top left: Biologi Bk Rejuventation Eye Serum $88; Trilogy Vitamin C Polishing Powder $45; Environ Intense-C Boost Mela-Even Cream $95; Dermalogica Biolumin-C Serum $268; Murad Vita-C Glycolic Brightening Serum $185; Essano Advanced Brightening Vitamin C Concentrated Serum $23.

FACES OF TOMORROW

The newest developments in technology are propelling the beauty industry into the future. Ashleigh Cometti speaks to four skincare pioneers breaking new ground in their respective fields

ver the past two decades, the worlds of technology and skincare have collided at breakneck speed. The increasing demand for science-backed or expert-led skincare has rendered the industry one of the most profitable of the beauty category. Estimated to reach US$183 billion (NZ$280 billion) by 2025*, the global skincare market has experienced significant growth since the late Noughts — almost doubling its market size. This growth is largely driven by the rising awareness of individual skin concerns, the increased demand for products providing UV protection, and the trend towards the younger population using anti-ageing skincare. The threat of wrinkles and fine lines is a major money-maker. In 2019 alone, the North American anti-ageing skincare market generated in excess of US$13 billion**. Skincare consumers are savvier than ever. Discerning and intelligent, this new wave of purchasers expects a high level of transparency and specificity from skincare. It’s no longer enough to speak in broad terms — these well-researched "skintellectuals" are eager to address their specific skin concerns, and want to draw on the knowledge of experts and aestheticians to do so. Not only are skintellectuals paying more attention to global skincare trends and newto-market ingredients, but the brands behind these products are placing greater emphasis on their scientifically researched, lab-created ethos. The precedent is set for the back of a bottle to clearly outline the who, what and where of a product’s origin — who formulated it, what’s in it, and from where the ingredients were sourced.

ADVANCES IN ANTI-AGEING One such brand adopting this approach is Parisian skincare label Sisley, whose research into the study of autophagy spurred on the development of its new Sisley L’Integral Anti-Age La Cure, $1600, which launches in

New Zealand on September 13. Biologist Yoshinori Ohsumi’s medical discovery on autophagy (or, in layman's terms, cell recycling) won the 2016 Nobel Prize in medicine. Inspired by his findings, Sisley Paris laboratories sought to formulate a product that supported skin cells' ability to self-destroy defective components, allowing for the healthy remaining cells to soak up maximum energy. April Roberts, national trainer for Sisley Australia and New Zealand, breaks this down further. “Every cell in our body has hundreds to thousands of mitochondria that work together to produce this energy. Energy is essential for preserving the youth and radiance of our skin while helping to diminish the appearance of signs of ageing. “When our skin is under intense stress, the mitochondria suffer irreversible damage and can become potentially dangerous for the cell, and as such they must be destroyed and eliminated,” she explains. Expect to hear a lot more about the function of mitochondria in coming years, with future developments in skincare going beyond the epidermis to work at a cellular level. The function of mitochondria is three-fold: to help produce the necessary energy cells need to regenerate; to transport and circulate energy deep within the cell; and to detoxify and recycle itself to allow healthy cells to soak up energy and regenerate (hello autophagy). This is where Sisley L’Integral Anti-Age La Cure comes in. Based on the principle that it takes the skin four weeks to renew itself, Sisley developed this four-step system to restart the skin’s vital mechanisms and restore energy to cells. Each concentrate is designed to preserve youth, slow down the signs of ageing and restore radiance by optimising the skin’s energy over a four-week period. Sisley L’Integral Anti-Age La Cure is recommended for use bi-annually or whenever the skin presents signs of fatigue and stress. Key ingredients include powerful plant extracts to protect and support the function of the mitochondria, including gingko biloba leaf,

mariposa blanca rhizome extract, peony extract and longevity sugar complex. Sisley’s use of plant extracts is not new — since its inception in 1976 the brand’s founders Hubert and Isabelle d’Orano had a vision to create a luxury cosmetic brand that utilised phyto-cosmetology. “Hubert believed firmly that plant science was the future of skincare; their capacity for regeneration and adaption and their protection systems provide huge benefits to skin,” says Roberts. The brand’s first foray into anti-ageing skincare was in 1999, with the launch of Sisleya Global Anti-Age. Seventeen years later, the brand innovated even further by incorporating a previously unknown dimension into its range of anti-ageing skincare, epigenetics. “Scientific studies showed that epigenetics [behavioural ageing] impact how our skin ages in addition to our genetics and environmental factors. Epigenetic factors directly attack the life cycle of our skin cells and their ability to regenerate. When this cycle is attacked, cells lose their ability to produce collagen and elastin, resulting in a lack of firmness and a dull appearance,” says Roberts. This research formed the basis of future product development at Sisley, with every product accounting for all three dimensions of ageing; genetics, environmental factors and behavioural ageing.

UNDERSTANDING UV EXPOSURE If you’re savvy with your skincare, chances are you’ll understand the importance of including sunscreen in your daily beauty regime. But going forward, prepare to hear a lot more about the impacts of visible and infrared light on skin. It’s something Environ founder and scientific director Dr Des Fernandes is passionate about, along with his ongoing research into the amount of UV protection absorbed from SPF into skin. For his part, Dr Fernandes began his career 30 years ago as a plastic surgeon, and fell into skincare by accident.

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chemical sunscreens with high level SPFs. “What worries us is that when sunscreen chemicals get absorbed into the skin they have a strong chance of reacting with UVA rays that have not been blocked by the sunscreen. Only 40-60 per cent of UVA rays get blocked, even with a high SPF, so the risks are real as there are a thousand times more UVA rays for every single UVB ray,” he explains. Dr Fernandes says when a UVA ray hits a sunscreen chemical in the skin, a freeradical chain reaction occurs, which he says may cause an even greater level of damage. This line of thought is evident in the inception of Environ’s new RAD Shield Mineral Sunscreen, $93, which Dr Fernandes says has an organic chemical UVB sunscreen protection factor to the value of 5, and the remaining 10 is made up of reflective titanium dioxide, which is more effective at blocking He says he never intended to create a business or a laboratory, but his fruitless search to find scientific-based skincare for his facelift clients meant he had to make it himself. What started as a skincare line developed for a select few patients quickly snowballed into the full line of Environ products today. It has since been awarded for its innovations in skincare, and was named as the Best Medical Skincare company at the Aesthetic Everything Global Awards for the third year running. Dr Fernandes’ latest findings go far beyond UV protection. He explains that although UV rays are powerful, they constitute a relatively small component of light that can damage skin. Instead, he says we should be mindful about the different wave lengths of visible light across the spectrum. This spectrum ranges in colour from violet to red, but Dr Fernandes says we should be most wary of blue light. “The keratinocytemelanocyte axis [in skin] is irritated by blue light and ends up in producing melanin and perpetuating pigmentation problems. Because we are constantly irradiated by [or exposed to] blue light, it is a struggle to control pigmentation,” he says. Other colours of the visible light spectrum aren’t without fault, either, with Dr Fernandes explaining how spending time in sunlight or clear (white) electric light means you are automatically being irradiated with all the colours of the spectrum. “A tan is in fact a scar, and about 50 years ago they demonstrated that one can induce tanning with violet down to green light. So we know that even soft green light can damage the skin,” he says. Interestingly, it’s Dr Fernandes’ research into the difference between sun protection factors that could stand to disrupt the sunscreen market as we know it. The difference being, that there is little difference at all between SPF15 and SPF50, he claims. Of greater concern to Dr Fernandes, however, is the ingredients contained within

UVA rays. RAD Shield Mineral Sunscreen uses reflectant inorganic sunscreens like zinc, colourless carotenoids phytoene and phytofluene to block blue light, and oceanderived venuceane to protect the skin from the damage infrared light and UV rays can cause. Dr Fernandes recommends re-applying sunscreen every 90 minutes to ensure skin remains protected. “Sunlight destroys the activity of UVA and UVB organic sunscreens, antioxidants, blue light blockers and infrared blockers, so these chemicals gradually become ineffective,” he says.

NEW LENGTHS IN LASHES Dr Michael Brinkenhoff is another trained physician who started in medicine but pivoted into the beauty industry. An opthalmologist, he began his quest to develop a product to support the health and growth of lashes following his wife Gayle’s diagnosis with metastatic breast cancer in 1989. Over the next 25 years, Dr Brinkenhoff drew on his knowledge of the delicate eye area to formulate a product that restored vitality and health to lashes. He founded RevitaLash Advanced, a lash conditioner which harnesses the technology of BioPeptin Complex containing lipids, peptides, biotin and green tea extract to condition, soften and strengthen eyelashes. Because it is a physician-led brand, Dr Brinkenhoff says science has always been at the forefront of RevitaLash’s new product development. “Our products are always made with purified ingredients and held to stringent testing processes which ensure both safety and results,” he says. In 2020, lash serums are a dime a dozen. But Dr Brinkenhoff warns many should have "buyer beware" attached, especially as they deal with such a sensitive area. “As a board-certified ophthalmologist, I can tell you that not all lash conditioners are created equal. It’s important for consumers to be well-informed so that they can purchase wisely and safely,” he says.

Things to look out for when considering a lash serum include being backed by an ophthalmologist to ensure the safety of the eye area, awarded by industry experts, tested by unbiased consumer studies and proven to be hypoallergenic. While lash care may seem like a niche market, there’s still room for innovation. Dr Brinkenhoff teases what’s next for RevitaLash will shake up the beauty industry once more. “We are thrilled to be launching a groundbreaking new product in the near future. This will create a new category for lash care, and is the perfect extension of our current RevitaLash Advanced formula,” he says.

GO-GO GADGETS Smart beauty devices are getting smarter — and now go far beyond jade rollers or sonic cleansing brushes. Light therapy masks, microneedling tools and electronic facial massagers have gained momentum in the past 12 months, and are showing no signs of slowing down. The buzz around high-end cosmetic devices is set to get even louder, with the increasing prevalence and desire to address skin disorders. Growing up in the beauty space gave Jamie O’Banion the kind of insider knowledge beauty aficionados can only dream of. Working alongside her physician and biochemist father, Jamie went on to develop clinical-grade skincare and tools brand BeautyBio in 2011. BeautyBio is set to launch in all Mecca stores from September 29, but it’s the GloPRO Microneedling Skincare Tool, $351, that already has everyone talking. Previously reserved as an in-clinic treatment only, micro-needling works by wounding the skin in order to trigger its healing response. “This has been done historically via lasers, chemical peels or microdermabrasion. All expensive treatments with significant downtime,” says O’Banion. Designed to microscopically activate the skin’s own rejuvenation response, GloPRO’s patented micro-needling technology works to tighten pores, refine skin texture and fade skin discolouration. The handheld tool works by "aerating" the skin to stimulate collagen production. “These invisible microchannels stay open for about five minutes before the body heals, so topical ingredients can be applied immediately after use for enhanced absorption,” says O’Banion. Her plans for BeautyBio include introducing a new category to its range — scalp care. Its imminent launch will be one that changes the way people care for their scalp, says O’Banion. “We are constantly pushing the envelope, challenging existing solutions, even making a new molecule if something doesn’t exist. I’m very data-driven and every product we launch is clinically tested in vitro and then in vivo before it earns a spot on the team,” she says. Driven by the demands of these skintellectuals, the skincare industry is constantly pushing the boundaries when it comes to prevention, revision and maintenance. New developments in technology are paralleled in skincare, proving that the possibilities in this industry are limitless. For more beauty features visit Viva.co.nz.

*According to a report published by Statista.com **Source: Imarcgroup.com

metoday.com

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TAPS PP6144 Always read the label. Take only as directed and in conjunction with a healthy balanced diet. If symptoms persist, see your healthcare professional. Me Today, Auckland.

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HAIR TO HELP

If winter has left your hair in need of a little TLC, look to these new-tomarket hair heroes to restore condition, colour and curls

For Dry or Damaged Hair: Hair Rituel by Sisley Restructuring Nourishing Balm, $165, is a preshampoo balm that uses a high concentration of natural oils to treat, regenerate and enhance the hair fibre.

For Thinning Hair: Revitalash’s Hair Volume Enhancing Foam, $259, harnesses the same science behind its bestselling lash growth serum for healthier, thicker-looking hair after two months of consistent use. For Curly Hair: Restore curls to their buoyant, beautiful best with Goldwell’s StyleSign Curls & Waves Curl Control Moisturizing Curl Cream, $30, which adds smoothness and definition without weighing them down.

THE BEAUTY BULLETIN

Viva beauty editor Ashleigh Cometti rounds up the latest noteworthy beauty launches, suited to everyone from millennials to the mature STARRY-EYED

← IT

→

Combining all the lashloving benefits of a growth serum with the volumising effects of a mascara, is Guerlain’s new Mad Eyes Mascara, $65. The buildable formula coats lashes in rich, pigmented colour but also serves to lengthen, thicken and curl them with consistent use. Available from selected department stores.

POWDER PUFF

→

←NewMIST-HAVE to their range of

This is physical sunscreen like you’ve never seen it before — reimagined in a refillable, flow-through brush, ideal for dusting over makeup or bare skin. The new Jane Iredale PowderMe SPF30 Dry Sunscreen offers broad-spectrum sun protection against UVA and UVB rays and is priced at $115 for the brush and two refill cannisters. Available in either translucent or three tan shades from October. Janeiredale.com

supplements and wellness products, Me Today has introduced the Protect+ Mist Hand Sanitiser, $16, a vegan-friendly, crueltyfree hand sanitiser, which kills 99.9 per cent of germs minus drying alcohols. Available from Life Pharmacies or see Metoday.com.

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Antipodes’ new Baptiste H20 Ultra-Hydrating Water Gel, $50, drew inspiration for its moniker from the Greek word "baptizein" meaning to immerse or dip in water. The gel formulation uses New Zealand manuka honey and plant-based hyaluronic acid to hydrate skin from day to night. Available from selected department stores and pharmacies, or visit Antipodesnature.com.

island holiday? Us too, which is why we’re reaching for Gucci Beauty’s new Poudre De Beaute Eclat Soleil Bronzing Powder, $105, to give the illusion we’ve been parked up somewhere sunny. Simply buff into skin with a fluffy brush for a luminous glow and go. Available exclusively from the Gucci Beauty counter inside David Jones Newmarket.

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Here’s one for the time-poor among us — a hydrating masque and exfoliating scrub in one. Dermalogica’s new Hydro Masque Exfoliant, $108, is a fiveminute masque that does the job of two products in one single step. Available from Dermalogica skin centres, department stores and Life Pharmacies, or visit Dermalogica.co.nz.

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FLORALS FOR SPRING? GROUNDBREAKING!

WIGGLE WIGGLE Trilogy is adding to its range of wobbly skincare with the introduction of a new Jelly Exfoliator, $44. Proving that jelly consistency and exfoliating properties aren’t mutually exclusive, this non-abrasive exfoliant looks to tiny pumice, bamboo and jojoba spheres to slough away dead skin cells and reveal a brighter, more radiant complexion. The formulation also features Trilogy’s signature cold-pressed rosehip oil, as well as New Zealand manuka honey, aloe vera and newcomer borealine, a red maple bark extract revered for its anti-ageing benefits. Available from selected department stores, pharmacies and online at Trilogyproducts.com.

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These four new floral fragrances are sure to put a spring in your step

1. Tom Ford Black Orchid 50ml parfum, $250, is the newest iteration in Black Orchid’s 14-year history. Acting as the most luxurious expression of Tom Ford’s iconic scent, Black Orchid Parfum is equal parts sensuous, dramatic and intoxicating. On counters from September 14. 2. Abel Odor Golden Neroli 50ml eau de parfum, $225, is a sparkling citrus floral that opens with a blend of neroli and matcha tea accord, unfolds to a heart of jasmin sambac, petitgrain and ylang ylang, before drying down to a soft santal base.

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3. Dior J’Adore Infinissime 100ml eau de parfum, $298, celebrates the depth and dimension of the brand’s classic J’Adore floral bouquet, this time adding hints of grasse tuberose, pink peppercorn, juicy blood orange and milky sandalwood for a scent that’s infinitely seductive. 4. Issey Miyake Nectar D’Issey Premiere Fleur 50ml eau de toilette, $164, is a delicate and soft floral which sees Asian pear and aqueous fruits combine with peony accord and opulent jasmine, punctuated by sandalwood and white musk for a smooth finish. On counters from September 14.

Brighton on Bright Prepare yourself for a carnival of colour — and it’s a take-no-prisoners level of bright. Eyes pull into focus, whether lined with high-shine hues, dressed in glitter or painted with glossy neons

PHOTOGRAPHER & MAKEUP ARTIST CAROLYN HASLETT

"Fun and easy, not overthought or tweaked to perfection,” makeup artist, hairstylist and photographer Carolyn Haslett says of her vibrant beauty shoot. “It’s the antithesis of the perfect, retouched, polished finish. It’s a ‘do whatever you like’ look.”

RAINBOW BRIGHT Now’s your chance to finally use that muchneglected shade in your eyeshadow palette (you know the one). This rainbow-inspired shimmering eye look is equal parts playful and chic. Carolyn used a selection of rainbow shades from the M.A.C Pro Palette Paintstick x12, over which she added a dusting of eyeshadow in complementary hues to strengthen the depth of each colour. Clinique Moisture Surge Pop Triple Lip Balm hydrated lips while adding a subtle wash of colour. Kevyn Aucoin The Volume Mascara ensured lashes didn’t get lost. Mahalia wears Jojo Ross top.

PHOTO FINISH This shimmering eye look (opposite) was created using a combination of M.A.C Frost Eyeshadow in the shade If It Ain’t Baroque mixed with M.A.C’s Coppering, a warm-toned dark copper eyeshadow, followed by lashings of Max Factor’s False Lash Effect Mascara in the shade Deep Raven Black. Carolyn layered the product from root to tip, wiggling the wand as she went, for a spidery lash effect. The finishing touch was a highshine, two-toned pout using Rouge G by Guerlain in the shade ‘050’ on Mahalia’s upper lip, and Shiseido’s Shimmer GelGloss in the shade 07 Shin-Ku Red on her bottom lip. Mahalia wears Jojo Ross top.

80s SIREN Throw caution to the wind with this high-impact beauty look that shows off two strong features. Carolyn played up Mahalia’s eyes with M.A.C’s Marine Ultra Pigment then dusted Ben Nye Loose Glitter in the shade Royal Blue on top. NARS’ Climax Extreme Mascara helped created feathery, volumised lashes. This highly glossed lip was courtesy of M.A.C Patent Paint Lip Lacquer in the shade Eternal Sunshine. The new M.A.C Eye Brows Big Boost Fibre Gel fluffed up brows.

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HIGH CONTRAST Playing up opposite sides of the colour wheel, this glittering eye look is an easy way to dip your toe (or brush) into the bold eye makeup trend. Carolyn lined Mahalia’s under-eyes with M.A.C’s Marine Ultra Pigment, then applied Melon Pigment over her eyelids. She finished this off with a swish of Hourglass Unlocked Instant Extensions Mascara. A pop of blush added warmth to Mahalia’s cheeks, in the form of M.A.C’s Pro Face Palette Blush which was lightly applied using a fluffy blush brush. This same peachy hue was reflected in M.A.C Cremesheen Gloss in the shade Richer Lusher, which was slicked over lips. Mahalia wears Jojo Ross Top.

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BUBBLEGUM POP The magic of each of these looks is that none of them use foundation. Carolyn simply prepped models’ skin with M.A.C Prep+Prime Essential Oils, allowing for their natural complexion and skin texture to show through. Here, in action, is also the bold underliner beauty trend. Carolyn has used M.A.C Magenta Madness pigment, flicking out from the lower lash line, while M.A.C Cherry Topped Eyeshadow washes over eyelids, with a smattering of M.A.C Lipglass in Clear over the top. Completing the look is Bare Minerals Strength & Length Serum-Infused Mascara and Hurraw! Coconut lip balm on lips. Atlanta wears Bella Purcell dress.

SUNSET STRIP The sunset eyeshadow trend is one you’ll be seeing a lot of this summer, so we thought we’ve give you a timely introduction. Channel one of nature’s most impressive sights by using a blend of coral, yellow and pink eyeshadow to add warmth and dimension to eyes. To create this look, Carolyn artfully swirled together two M.A.C single eyeshadows in Chrome Yellow and Coral paired with M.A.C Magenta Madness Pigment, which was blended from the inner corner of the eye up towards the brow bone. Sky-high lashes were thanks to Rimmel Scandaleyes Volume On Demand Mascara, while M.A.C Lipstick in the shade Lady Danger created a mattified pout.

ULTRA VIOLET A look “for when one eyeliner just isn’t enough”, Carolyn says. Layering punchy neons offers maximum impact with minimal effort. The hardest part is making your other eye look like a twin — not a cousin. Carolyn used M.A.C Power To The Purple eyeshadow with a fine eyeshadow brush to create a dramatised winged eye. Working with M.A.C Chromaline in the shade Process Magenta, Carolyn used this waterproof gel-cream to create a precise line of intense pink colour. Dior Diorshow Iconic Overcurl Mascara in 090 Black dressed lashes, while M.A.C’s Retro Matte Lipstick in the shade Relentlessly Red added a pop of colour to lips. Atlanta wears Ella Batley jacket. Models: Mahalia from 62 Models. Atlanta from Unique Models

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For more great beauty tips and news, visit Viva.co.nz.

the jane iredale difference It’s more important than ever to use a makeup that is clean and hygienic and lets your SKIN BREATHE

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FOOD & DRINK

PHOTOGRAPHY BABICHE MARTENS

CHAMPAGNE TASTES

Forget oysters and caviar, the ideal complement to champagne is far more low-key. In fact, it’s found in the salad drawer: it’s the little old radish. The unlikely pairing was recently discovered by French chemist Jacques Puisais, 93, after a half a century of researching which foods go with which wines. The piquant, peppery bite of radish paired with the crispness of dry champagne is a taste revelation, it turns out. Dr Puisais explained the science to The Daily Telegraph: “Radish gives you a stimulation that is similar to champagne. The piquant taste of the radish is recorded in your brain so that when you then take a sip of champagne, the champagne tastes less piquant and more fruity.” Dr Puisais, who calls himself a “taste philosopher" and has a PhD in chemistry, says champagne is demanding. “What I regret is that people serve any old thing with champagne. It cannot be paired with just anything.” If filling a bowl with radishes sounds a little uncouth, try serving them in perfect halves with butter and sea salt, as the French do. Santé, sweeties. — Johanna Thornton

Hepburn coupe, $60 (set of two), from Citta. Amber Antoinette champagne glass, $14, from Redcurrent; stony white vintage linen, $50 per metre, from Martha’s.

GORDON

TIMES A-CHANGING Peter Gordon, the 'Godfather of Fusion', is back in New Zealand, having closed his London restaurants and parted ways with The Sugar Club in Auckland to embark on a new era at a different pace — a social enterprise-meets-cooking school that will take things right back to basics, writes Kim Knight

he art is on the floor instead of the wall and, somewhere in a shipping container bound for Auckland, are at least seven odd socks. Peter Gordon’s homecoming is a work in progress. New apartment (under construction). New business (still signing some leases). New haircut? “I haven’t exposed the burns as much as this, ever,” says the world-famous chef. “I’m actually really grateful to the hairdresser, who just didn’t listen to a word I said. Maybe now, it’s just really time to let the scars hang out.” Gordon was a little kid when he stood on a stool to “help” his dad cook fish and chips. He lost his balance and grabbed at a pot of boiling beef dripping. “I spent quite a lot of time over the next few years in hospital, eventually having a skin graft,” he wrote in his book A Culinary Journey. “But I have to say I have never been put off cooking — and I have a macabre love of deep-fried foods.” His restaurants include four iterations of The Sugar Club, London’s The Providores and Tapa Room, London and Auckland’s Dine by Peter Gordon and Bellota. He’s been called the Godfather of Fusion since forever and his reputation is such that when he invites others to take part in fundraising dinners, even Alain Ducasse says yes ($14.2 million and counting for the leukaemia charities he began supporting when his sister was diagnosed with blood cancer and he became a donor). For three decades, Gordon has had a foot in two countries. His career has taken him around the world, but this year, London’s loss is Auckland’s permanent gain. Gordon has sold up and come home. The 57-year-old is literally, and metaphorically, ready for his close-up. He’s planning to take te reo lessons, to embark on marae-based projects, and, with his Kiwi partner Alastair Carruthers, set up a social enterprise

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called Homeland, scheduled to open in November. Part cooking school, part innovation hub and storefront, Gordon imagines a place where families might learn to cook roasts and migrant communities will share their cuisines. New Zealand producers — the growers and makers hit hard by a global pandemic — will be front and centre. Because while this is an idea first conceived pre-Covid, it was refined in a locked-down Auckland. Gordon had been speaking to venison suppliers who couldn’t sell their meat because it’s the stuff people eat at restaurants, and the restaurants were closed. He realised how many people don’t really know how to cook clams or greenshell mussels and he discovered that, in a tiny town called Nightcaps in the deepest south, someone was making excellent paneer. At the same time, “We were all cooking at home, and we realised there were a lot of people who didn’t have a lot of cooking skills. I’ve done a lot of fancy classes where you have 15 ingredients and you make some incredible thing, but wouldn’t it be nice to have something almost at home economics level and do things with families where they could all come together one day and you make a fish pie and you do a pavlova or something? “It’s all very well that people think you shouldn’t go and buy Kentucky Fried Chicken, but actually it’s really cheap and maybe you don’t have a saucepan and the oven’s broken and you don’t have a knife or a chopping board and the cost of all that electricity . . . “A lot of the cooking we’ll do at Homeland will be the sorts of things our grandparents did. What to do with a knuckle of ham to feed 10 people. Good baking.” ■ Peter William Gordon was born in Whanganui, a self-described “contemporary cross-cultural mix of ancient Scottish whaler and Māori ‘princess’”. He is Ngāti Kahungunu and Ngāi Tahu and the youngest of four. By the time he was 8, his whānau had expanded — eight kids and a new stepmum and

stepdad. When his parents first divorced, he and his sister Tracey lived with their paternal grandmother, Molly Gordon. She looms large in his food memories. “She’d make you change your shirt for dinner, and the dessert would always come out on the lovely old tea trolley. You’d hear the wheels clatter across the kitchen floor and then silence. Adults would talk and children would not say anything. “Often there would be lovely jellies that she’d set in those lovely thin moulds. I’ve got some of hers in the shipping container. Sometimes she’d tip the jelly out, and sometimes she’d just put on a bit of top milk — the cream — and eat it out of the mould. I still remember the amazing sound of the teaspoon scraping across the aluminium.” What are the exact moments that shape a person’s palate? The moments that feed — and define — their hunger? Gordon left New Zealand via an 18th birthday present air ticket to Australia. He’d planned to become a winemaker. Waiting restaurant tables in Melbourne he realised he’d rather be in the kitchen. He enrolled in Catering College at the William Angliss Institute, but his food education was happening outside the classroom in Melbourne’s distinct neighbourhoods. “Italian, Greek, Lebanese, Vietnamese — there was this moment, when I thought ‘these are whole communities with their own food practices’. Northern Chinese and Southern Chinese was not the Chinese food we had in Whanganui, spaghetti was a dried thing rather than out of a can with chipolatas. Discovering the avocado and the cappuccino . . . And then meeting people from foreign countries, like a country called ‘Morocco’, which I’d never heard of.” Sure, he’d eaten tofu before. Firm and pale yellow, right? At a Japanese restaurant, he was served fresh, silken tofu with grated daikon and shaved bonito. “I can still taste it. The texture and the flavour and the purity and the cleanliness.” Back in the classroom his tutors said, “Japanese don’t cook, they just eat raw fish,” and continued to focus solely on the “grand” cuisines of Europe. It reminded him, he says, of intermediate school when he was enrolled to learn Esperanto, the so-called universal language. “We were told ‘this is a combination of all these great languages from around the world’. And I remember saying, ‘What are the Chinese words? What are the Indian words?’ And I remember then, thinking, it’s not really an amalgamation of all sorts of stuff — it’s the white people's languages.” Gordon graduated from Catering College as the top theory student. His prize was a copy of Larousse Gastronomique, the French-centric encyclopedia of gastronomy. He gave it to a friend in disgust (“It represented everything I hated about my apprenticeship!”) but concedes that, more recently, he was sent a revised edition “and I opened it up and thought, ‘Oh yeah, it’s got some good stuff’ . . . it’s just not . . . you know, there are more interesting languages and more interesting cuisines.”

Photo / Pal Hanson

PETER

Chef Peter Gordon and his partner Alastair Carruthers, photographed at home in London last year, are embarking on a new food-centric social enterprise in Auckland.

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PETER

A scene from Peter Gordon's 2001 docuseries Pacific Harvest, which screened on TV One and BBC2.

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Growing up, Gordon never experienced marae life. At high school, he learned French and was told te reo was pointless because no one was ever going to speak it. “I don’t remember any obvious racism. Although, obviously, if we’re not learning te reo because it’s a ‘dead language’. So I’m coming to my Māori culture now, and I’m 57. I’m coming to it later in life.” And Māori food? “So often it’s just been hāngī, and often in those steam kettles that I think are a terrible invention. Like champagne can only come from Champagne, hāngī should only be allowed to come from a pit that’s started with a fire! “Anyone should be able to do hāngī, in the same way anyone can do sushi or that we wouldn’t say only English people can do a roast lamb, but I think the downfall of hāngī is that often, it’s just not done well.” He might, he says, try and improve that steam-cooked version at Homeland. But he’ll also be looking to New Zealand’s contemporary developments. Things like locally grown saffron and pine nuts, and “the fact that we can buy quinoa from Taihape and black garlic from down in Marlborough and salt from numerous places. I’ll continue at home to cook with fish sauce from Thailand and I’ll continue to drink wines that aren’t all from New Zealand, but the purpose of Homeland is to really focus on New Zealand.” This country’s first commercial pine nut plantation is a little over two decades old. Quinoa trials only began in 2014. Even five years ago, this venture might not have been possible? Gordon: “I probably wouldn’t have conceived of this before I got on the plane in March!” ■ This story has gotten ahead of itself. Gordon set his new life in motion in July last year when, after 18 years, he and Michael McGrath closed London’s The Providores and Tapa Room. Covid-19 was not even in the lexicon but business was declining, Brexit had happened, food costs were increasing and so was the competition. It was time to do something different. “Al was living in London, and we were busy with stuff and we were thinking we could create a food embassy in the United Kingdom . . . sell New Zealand wine, salt, peanut butter, whatever. And then we closed The Providores, and it was really interesting. Over the next six to eight weeks, I began to think, ‘What’s my purpose? What’s the point? Why am I still here in London?’ “I was beginning to think about stuff that could be useful. Something to work towards in the future. And I thought, 'Actually, maybe the future’s now. Maybe it’s time'.” He had imagined one more Northern Hemisphere summer, enough time to sell his London house and say some proper goodbyes. But by February, the mood had shifted. A neighbour who worked in health warned things were not looking good. Carruthers made the decision to leave and urged Gordon to follow sooner than planned. The world was starting to spin very fast. “I put my house on the market on Monday and we had a phone call on the Wednesday and Al said ‘just book a ticket, get on that plane’ . . . I was selecting my seats and I got pushed off the

site. I went back in three minutes later and the fares had gone up about £1200 and I thought f***, either the logarithms are working or there’s an exodus. So I just booked any flight I could.” On the Friday, Gordon accepted an offer on his house. On the Sunday, he boarded a plane with 40kg of luggage. His flight was the last allowed through Singapore before it closed to transit passengers. Gordon arrived in Auckland on March 24. The next day, New Zealand entered total lockdown. “I was mentally prepared to be here in August. And this was March.” He shakes his head. “In hindsight . . .” The world is still spinning, but in the relative calm of New Zealand, the fridge is full of his boyfriend’s first-ever marmalade (lemon, mandarin and yuzu), there is a bunch of bay leaves drying in the fruit bowl and the floor plans for Homeland are piled on the kitchen table. Gordon’s SkyCity Auckland tapas restaurant Bellota was not reopened post-lockdown and, earlier this month, he left The Sugar Cub. “It’s me,” he says, in the temporary apartment with the view of the permanent apartment he and Al hope to move into in February. “I’m changing.” ■ Gordon’s first head chef position was in 1986, at the very first Sugar Club in Wellington. There’s a handwritten menu reproduced from back in the day, in the book Dining Out: A History of the Restaurant in New Zealand. Entrees included sugar-cured fish salad with wasabi and miso dressing and a two-egg omelette that came with avocado and smoked eel. There was lemongrass, coconut cream and “gado gado” required quote marks. In a city where critic du jour Michael Guy recommended the filet de boeuf at Pierres, Gordon was a breath of coriander-scented air. In London, things got even more radical. He won some awards. He was looking for a label that better described his food than Modern British or Pacific Rim. An American chef was using the word “fusion”. That, thought Gordon, was the best fit. “It’s a label that, maybe in hindsight, it would have been nice not to have had,” he says. “Because a lot of people have gone ‘oh, it’s con-fusion’.” Gordon likes to point out that England’s Worcestershire sauce contains tamarind and that without fusion Italians wouldn’t have polenta, because corn and maize came from the Americas, as did the chillies and peanuts that infuse Thai cuisine. Feijoa and tamarillo are New Zealand staples, but they are as South American as the passionfruit pulped on our pavlova. One of the greatest fusion dishes he’s eaten, he says, was Marco Pierre White’s foie gras with mango. He knows that people will argue; that it will be described as “Modern French”. “But you don’t grow mangoes in France . . . I don’t know, I’ll probably die happy that I was part of the debate. It has been interesting, you do get people who say fusion food is ridiculous and it’s like, ‘What the f*** are you talking about?’ Of course there is bad fusion food. But the cuisine where I’ve had the most worst food? I’ve had such terrible meals in France . . . I’ve had more amazing meals in Malaysia and Turkey and Japan than I have in France.” If that sounds like a rant, it isn’t. His tone is more bemused than bombastic; he speaks with

Photo / Babiche Martens

■ The Abridged History of Peter Gordon includes the trip to Indonesia in his early 20s that blows his culinary horizons “sky-high”. Further, formative travel through Southeast Asia. A stint at a private members' club in Mayfair where the artist Lucian Freud buys him a whiskey and diners include Brad Pitt and Antonio Banderas. He opens restaurants in Wellington, Auckland and London. He cooks for the rich, the famous and former American President Barack Obama. Gordon is the go-to chef for Brand NZ, giving command performances on any given overseas stage. One day he’s cooking for an event in San Francisco. He watches a huge waka pass under the Golden Gate Bridge and tells film-maker Hinewehi Mohi that he’s Ngāti Kahungunu. He rhymes the “hung” with “sung” and she gives it to him again, properly — “who-gnu”. And then she says, “Okay, you’re my cuz and I’m going to teach you how to speak better and you better learn more.” Gordon: “And I said, ‘Oh, thank God'.” On the television show Native Kitchen (which he presented and executive-produced) Gordon mentored aspiring young Māori chefs on a 10day culinary boot camp. Earlier, he’d starred in Fusion Feasts, travelling Aotearoa, learning about Māori culture, and then working with locals to cook the show’s titular feast. At Ōrākei Marae he says, his kina dip with cream cheese and a squeeze of citrus, reduced a woman to tears. “It was really nice, but she said, ‘You’ve ruined our kai!’ I said, ‘You need to know kina are not just from New Zealand — they’re not called kina anywhere else, but you get them in France and Mexico and Italy, and this is just one way of doing them.’ And then one of the aunties said, ‘Oh my God, if I’d known this is what kina could taste like … I’m Māori and I’m supposed to love them, but they’re horrible food!”

GORDON

"I began to think, 'What's my purpose? What's the point? Why am I still here in London?' I was beginning to think about stuff that could be useful. Something to work towards in the future. And I thought, 'Actually, maybe the future's now. Maybe it's time'."

Once, he says to be a New Zealander in the United Kingdom, you were probably a schoolteacher. In Australia, you were a secondclass citizen. “Today, if the world was to say what is it to be a New Zealander, the answer is probably ‘really lucky’. Under [Prime Minister Jacinda Ardern's] watch, to be a New Zealander is probably to be caring, to be inclusive — all the things I think we are anyway. We are an admired nation of people.”

Peter is back home from London with a fresh haircut and a new outlook.

the gentle, measured clip of confidence — not the rock-star arrogance associated with many modern chefs. “I think I came from a really loving family and I don’t have a big ego. I’ve got an ego, but I don’t have . . . I don’t ever see that I would f*** over everyone else for my own benefit. A lot of those chefs in London, and there are chefs here too, I’ve been on trips in private jets to Champagne and Spain and they’re lovely, and then you see them in another kitchen and it’s like a different person. I’ve never got that. I’ve always just been, ‘Hello, I’m from New Zealand. Can I help you?’”

■ In international food circles, Gordon is as famous as our lamb racks or our manuka honey. Mention “New Zealand” to the likes of Rick Stein or Jamie Oliver, and he is the chef they reference. Here’s Oliver, for example, back in 2015: “He’s still gorgeous and still clever and still a legend, and I’m lucky enough to see him every now and again, and I think he likes me, which makes me feel happy.” (That’s a “yes” by the way. Gordon’s electronic diary recently reminded him he’d made pre-Covid plans to go to lunch with Oliver and another darling of the Kiwi kitchen, Nadia Lim.) Throughout this interview, Gordon’s partner, Alastair Carruthers, has been quietly working in another room. Now, the career chief executive and chairperson (law firms, arts and cultural organisations and coffee companies) has something to say. “He’s just too modest. There isn’t a single food establishment in the world that we would go into where the kitchen

doesn’t immediately go ‘whoa’ …” Once, says Carruthers, they went to a Lady Gaga concert. They were in the mosh pit but missed the moment when a dancer whacked the singer in the head with a pole, “because somebody was asking Peter about their mayonnaise splitting!” They’ve been a couple since 2011, learning to live with each other’s respective interests in polenta and Wagner and discovering (what are the odds?) that they have both collected Poole ceramics since teenagehood. They swim together at the Tepid Baths and, afterwards, eat rice bubble-studded sushi from a sushi train restaurant. During lockdown, they competed in a social media bacon and egg pie challenge with friends from around the world. Gordon: “People thought Al’s pie was much nicer than mine . . . ” It has been a decade since Viva last sat down with Gordon for a comprehensive interview. He was home in Auckland at the time, preparing to launch the winter menu at Dine. He approved of a black bean sauce drizzled around a plate of scallops but wanted to know why the rice in the tofu cannelloni had been popped. Back then, he told us, “There’s a brand out there called ‘Peter Gordon’ and I know that sounds all-American and new-age but I need to capitalise on that. No doubt in 10 years, I won’t be in the kitchen much at all, because I’ll be 57.” Really? Gordon may have left his restaurant kitchens, but check his Instagram feed. It features a multi-course “Homeland” dinner cooked across two nights at Auckland’s Northern Club. The main was a shepherd’s pie — slow roast lamb shoulder, and braised mince. Cloves, cinnamon and tomatoes. A creamy potato gratin topping. “Six courses. A team I’d never worked with, in a kitchen I’d never worked in, and I just loved it. It was chaos. All these boxes of vegetables from the marae, stuff everywhere . . . I am happy to say that prediction from 10 years ago was completely wrong. What I know I love is being hands-on and what I know I enjoy is creating stuff and cooking.” •

THE DISH

UNDER THE RADAR

The best bars are the ones no one else knows about. Well, the secret's out — here are three to uncover

Secret bars, swish cellar doors, New Zealand native-infused liquor and more hot food news from Aotearoa

Night Flower

Just off Cuba St, up an industrial stairwell, behind what looks like a regular apartment front door, is Wellington’s best-kept secret. Step inside and it's like you’ve been transported to Prohibition-era New York. Night Flower is the capital’s chicest cocktail bar, and yes, that’s in a city overflowing with cool. There’s no menu — tell the bartender what you like and they’ll whip up something exquisite, just for you. Dimly lit and full of sumptuous secluded booths, it’s the perfect place for a romantic date ... or take a seat at the bar and be entranced by the shaking and stirring, and the beautiful crowd. 1/55 Ghuznee St, Te Aro, Wellington

IN A PICKLE

WINE NOT

An obsession with pickled onions, and an ongoing family competition to make the spiciest, led chef Dan Pearson to create Gorilla Pickles, the third product in his and wife Jo’s Egg & Spoon gourmet range. Their Wild Fennel Co seasonings have become kitchen staples, and the Dog Town Mustard has developed a cult-like following. The mustard is named for the Pearson’s Port Chalmers HQ (the town wasn’t always the delight it is today) and gets its retro label from the garish 70s kitchen of their previous home, where the recipes were developed. Wild Fennel and Dog Town are widely available, whereas Gorilla Pickles are in short supply online. They need help peeling onions and the couple are thrilled that Dunedin’s Cargills Enterprises, the trading arm of the Disabled Citizens' Society, is taking the job on. Which will mean more punchy pickles for us and more time for Dan and Jo to turn ideas into delicious reality. Eggspoon.co.nz

Sly

The highly regarded Felton Road wine-growing area in Central Otago now has a cellar-door experience of the same stature with the opening of Te Kano Estate's new award-winning building. The impeccably crafted structure has just won the NZIA Southern Architecture Award, the first of many awards for this development, we’re sure. Designed to nestle into the landscape, the cellar door has incredible views down the Kawarau River. In contrast to the rusting Corten steel and macrocarpa of the exterior, the interior is calm, contemporary and refined with artwork by Yuki Kihara, Fiona Pardington and Paul Dibble. Tekanoestate.com

Just like its name suggests, Sly is a cocktail bar hidden in plain sight on Karangahape Rd. Enter the foyer and you’ll feel like you’ve stepped into an escape room. You’ll have to wait for the bartender to let you in, unless you know the secret door. Inside is a dimly lit space set up for intimate gatherings. It’s a seductive atmosphere in a vintage setting, with art, portraits and mirrors adorning the walls. Choose a cocktail from the list or ask the mixologist to create something special. 354a Karangahape Rd, Auckland The Blue Door

BOTANICAL BREWS

Rimu, horopito, mānuka. Trees and shrubs usually found in our beautiful native bush are increasingly being celebrated in New Zealand-made spirits. These botanicals imbue a unique homegrown flavour, with craft brands like Martinborough-

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based Reid + Reid featuring kawakawa, mānuka and horopito in its Native Gin, while Roots Marlborough's Dry Gin combines Motueka hops with gorse flower and kawakawa berries. Reefton Distilling Co’s Little Biddy Classic Gin is made with tarata, horopito,

toatoa and rimu for an aromatic bite. Zest from New Zealand navel oranges and Yen Ben lemons imbue Cape Palliser's Lighthouse Gin, and Waitui Whiskey is aged in mānuka honey mead oak barrels for six years. Available online and from leading liquor suppliers.

This bar actually sits behind two blue doors tucked away down the side of one of Arrowtown’s quaint stone buildings. In summer the party spills out of the doors to the alleyway, in winter it’s all happening on comfy leather chairs in front of the wood fire. With lights as low as the ceiling, it’s an intimate bar that somehow still has room for dancing, which is a happy thing when live music is as good as it is here. The vibe is effortlessly cool so don’t dress up. 18 Buckingham St, Arrowtown

Unique flavours, artful plating and thoughtfully chosen ingredients. Chefs from leading New Zealand restaurants present special dishes from their menus, prepared with local and native ingredients, and share the stories behind the food’s provenance in celebration of our country’s incredible produce. As told to Johanna Thornton

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Cazador, Auckland The dish: Wild venison and NZ artichokes

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“We’ve always used wild meat as it’s the most flavoursome and sustainable meat we can get. We’ve recently started working with a permaculture vegetable grower who is producing some of the best produce we’ve ever had and they practice soil regeneration, which is really important to us. We source the venison from Awatoru Wild Food, Kāpiti, and Dalmatian artichokes from the Tuaropaki Trust, Taupo. The venison is marinated with sherry, then cooked over coals to order. The artichokes are roasted and pureed and fried, finished with gremolata. It tastes wholesome and earthy. It’s lean meat, dense with flavour but, being fallow deer, it is gentle rather than 'gamey'. The artichokes are sweet, rich and nutty.” — Dariush Lolaiy, owner/chef

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Lillius, Auckland The dish: Tora Bay paua with New Zealand barley, seaweed and succulents

“This dish has been well received by people who have never had pāua before. The flavour is delicate and the textures are complementary. To me, it tastes like the fresh waters of New Zealand. It's made with pāua hand-dived from Tora Bay Collective, New Zealand pearl barley from Christchurch sourced through Element Foods, wakame from Awatoru Wild Foods in Wellington and native sea spinach from Secret Garden in Pukekohe. We like to use whole animals and utilise every part, applying the same perspective with fresh seafood. I use the shells to serve our canapes, the liver and trimmings are made into an emulsion that goes into the barley sauce. The meat is sliced and served on top. Wakame is something pāua feeds on, so this is served in pieces for a visual aspect and as a butter to add richness to the barley sauce. The native spinach garnish adds that connection from land and sea." — Fraser McCarthy, chef/owner

Arbour, Blenheim The dish: Smoke-cured butterfish, tuatua, wild herbs, cultured cream, allium oil

“The butterfish is caught by local spear fisherman Tim Barnett of Ocean Speared. He takes our orders locally, then goes out and catches what we need. He performs ikejime immediately on each fish, which is a very thoughtful way to end their life. The tuatua are from Cloudy Bay Clams, local food heroes here in Marlborough. The herbs are from our local organic neighbouring vineyards. We are so lucky to have such amazing produce right on our doorstep. Marlborough is a food bowl and it is wonderful to be able to change our menu so often and show our guests why our region is such an amazing place to live.” — Bradley Hornby, chef/owner

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Photos / Babiche Martens

A sheath of bull kelp resembling a pounamu (greenstone) is pulled away to reveal the delicate fish, wild sorrel and truffle underneath.

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Ahi, Auckland The dish: Bull kelp and john dory

"This dish is a delicate john dory fillet sheathed in bull kelp. Servers pull the toggle on the seaweed 'pounamu' to reveal the fish underneath — an expression of the way the fish is cooked. Bull kelp is used as an oven bag to carefully steam the fish, adding salinity and flavours of the ocean. Scott and Maaike McNeil at Awatoru Wild Foods harvest the bull kelp in south Wairarapa, timing their visit with a full moon, low tide and the weather. The fish is served with wild sorrel flowers and herbs, which have a lemony flavour and provide balance and acidity. A bull kelp hollandaise sauce adds richness and colour; shaved Canterbury truffles finish the dish. It’s a natural and simple dish." — Ben Bayly,chef/owner

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Rātā, Queenstown The dish: Southland cheese roll

“The cheese roll is unique to Southland and Otago’s food history and dates back to the 1930s. It’s a variation on a white bread and cheese sandwich, made with thinly sliced white loaf rolled over a thick mornay sauce, which is pan-fried golden brown and finished in the oven until soft. Our Rātā version highlights local ingredients from southern New Zealand. It’s made with Whitestone cheddar, a classic, strong-flavoured vintage cheddar with a crunchy texture and sharp finish, honey and fruit. In the summer we preserve perfectly ripened Central Otago stonefruit and our honey is harvested from Gibbston Valley’s purple thyme and wildflowers. The sweetness of both work perfectly with the cheese roll. It’s served alongside a winter salad of bitter leaves, the stonefruit and Central Otago honey.” — Fleur Caulton, co-founder

Amisfield, Queenstown The dish: Eel on Vogel's

"We serve this eel dish under a cloche filled with mānuka smoke, with its bones. Eel is something I grew up eating. We used to trap and smoke them and my dad would make it into a pâté that my brothers and I would eat on Vogel’s with sour cream. This dish was inspired by my time working at Martin Berasategui’s restaurant in Spain and his millefeuille of foie gras, smoked eel and candied apple. The intricate combinations of flavours and textures prompted me to create this dish, combining his thoughts with my father's, in a New Zealand way. The eel is glazed with horopito, wild Otago pasture honey and olive oil grown on our vineyard. It’s served with a syrup made from Amisfield’s pinot noir or a syrup we make with sap from local birch trees. It sits atop our version of Vogel’s classic grain bread, using horopito for spice, harakeke seeds and other foraged ingredients. On the toast is a Canterbury duck liver mousse and Amisfield-made 3-year-old jamon, which adds texture and umami flavours. The sweet, smoke, salt, umami and native flavours combine to exaggerate and complement the smoked eel.” — Vaughan Mabee, chef

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Inati, Christchurch The dish: Caramelised white chocolate and jerusalem artichoke teacake

“For this tea cake (or some might call it a Mallow Puff), white chocolate and artichoke ganache covers dulce de leche, which is set on top of a gluten-free base or joconde (sponge). This is dipped in marshmallow and finished with tempered milk chocolate. A whey truffle caramel bar is shaved over the dish. The artichokes are sourced from one of our neighbours in Ilam, the caramel bar is made from whey left over from the Roan Farm milk after making our in-house cheese. This milk also makes the dulce de leche inside the dish. Our eggs are sourced from Lamond, a local Canterbury free-range egg supplier, and the Bianchetto truffle shaved into the caramel bar is from Limestone Hills in North Canterbury.” — Simon Levy, chef/owner

Hiakai, Wellington The dish: Petit fours

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“Our most recent menu was based on Matariki, the star cluster that rises in midwinter in Aotearoa and signals Māori New Year. Matariki is a loving and encouraging mother. She symbolises support, supervision and encouragement. She ensures that we are all able to thrive. It was an incredibly fitting menu for reopening after lockdown, as it is a celebration of not only renewal but also remembrance. The aim of the petit fours was to evoke memories of the past. We have a kiwifruit pavlova, mamaku pâté de fruit, custard square, harakeke lamington and jaffa bonbon. This is served with a miro, cinnamon and kawakawa tea. We source the miro and kawakawa for our tea from the ngahere [bush] at the start of every week.” — Monique Fiso, chef/founder

CRITIC’S CHOICE Viva’s dining out editor, Jesse Mulligan, selects New Zealand’s best destinations for sublime eating and drinking, plus some honourable mentions

very city has one good restaurant, many have a couple. But there are some regions that would be worth an extended trip even if all you were going to do there was eat. Below are New Zealand’s best food and drink destinations, according to me. I can’t promise I’ve named every decent restaurant in the country, but the ones I’ve included won’t ever let you down. Queenstown

This could easily have become our equivalent of the European town square — where every restaurant is terrible and expensive because all the customers are passing through and there’s no incentive to seek return custom. But Queenstown, as a whole, aims higher — cooking great food for the love of it and avoiding many of the seductions of the overpriced tourist trap. That’s not to say you can’t spend money if you want to. The food programme at luxury lodge Matakauri is billionaire-suitable, as I discovered on a special weekend of poolside cocktails, room service and degustation dining with views of the lake (you can book at the restaurant for lunch, even if you’re not an in-house guest). Josh Emett’s Rātā is the best place to eat in the township, though if you’re willing to travel a little you’ll find my favourite restaurant just outside of town at the Sherwood, a renovated mock-Tudor motor lodge offering hipster comforts and thoughtful, seasonal food. On the right night you’ll catch some live music as well. And there are some real rewards in Arrowtown, where the food is arguably as good as Queenstown without the associated stresses (traffic, crowds, pre-loaded yobbos). I love La Rumbla, a tapas-based local favourite with good cocktails, and then there is Ben Bayly’s Aosta, already regarded as worthy of a special detour. Amisfield is nearby and is the best choice for winery-eating — order the beef to share if you’re lucky enough to see it on the menu when you visit. For brunch I love the casual excellence of the Chop Shop, where you can ask for a seat at the bar if things are too hectic. Back in Queenstown I’d pick Yonder where, again, the standard would be incredibly high even if you weren’t in the middle of a resort town. While you’re in the area, consider a trip out of town to Bannockburn for a winery crawl, stopping (if the season is right) to do some cherry picking at one of the various orchards on the road home.

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Wellington

Images, from top: Rita in Aro Valley; cheesecake from Loretta in Wellington; Queenstown luxury lodge Matakauri.

Wellington did craft beer before craft beer was a thing, and espresso before everyone put an “N” in front of the word and started making it themselves at home. The originator and the innovator, this beautiful city was never a silver medal to Auckland — it was running a different race. Logan Brown has always been the town’s biggest name though it’s now joined the hospitality scene’s “little sister” culture, opening Grill Meats Beer around the corner for more casual dining. Likewise, Floriditas, a brunch favourite since I lived there 20 years ago, has a friendly sibling a few doors down called Loretta. These places are all on Cuba St, which, incredibly, has at least a couple of other great restaurants to recommend including Ombra (visit early for happy hour Aperol spritz with snacks) and 1154 Pastaria, the sort of unique, counter-service pasta restaurant only Wellington could come up with. Rita in Aro Valley is my favourite restaurant in the country, though I haven’t yet got to Hiakai, the restaurant of Netflix star Monique Fiso. I have, however, interviewed Monique in her kitchen before service and can confirm that there isn’t a more elaborately conceived, deeply indigenous dining experience anywhere else in the country.

Hawke’s Bay

This is a sprawling culinary region, from the wineries of Esk Valley in the north to dramatic views of the world-renowned “Terroir” restaurant at Craggy Range in the south. And that’s not even counting some of the producers further down country that have their own wonderful stories — Mangarara regenerative farm is one worth seeking out. It might feel like you’re spending almost as much on petrol as you are on food but the road-tripping is worth it — you can’t visit this part of New Zealand without trying out (not an exhaustive list) new gin bar Hastings Distillers, Ahuriri’s Crazy Good coffee, the farmers’ market at the showgrounds and the wineries of Gimblett Gravels. Napier alone is worth a few meals, with international-level dining on offer at Bistronomy and Pacifica. But some of the best treats are found outside of restaurants: look out for Hapī, baking vegan delights that taste as though no indulgence has been spared. Or the Three Wise Birds cidery, where you can sample a paddle of local tastings or grab a pint of something with a burger on the side. Auckland

Auckland isn’t quite to New Zealand what London is to England. The latter has 95 per cent of the country’s great restaurants but we’re more evenly spread in Aotearoa, where Wellington alone would vie for half of the spots in a national top 50. Nonetheless, there are untouchable restaurants in Auckland. The sort of places that don’t exist in San Francisco, let alone Christchurch. On this list you could put Pasture, Cassia, Sidart, Kazuya and Amano — flawless experiences you get excited about two weeks ahead of a visit. That list barely scratches the surface of Auckland’s top restaurants, many of which could claim to be the best of their kind in the world if the category was narrow enough. Cuore, the best regional Italian restaurant outside of regional Italy; Cocoro, the best fine-dining Japanese restaurant as reimagined with New Zealand kaimoana; Celeste, the best Parisian bar-bistro if you can’t quite make it to France; Depot, the best high-end reimagining of eating at the Kiwi bach or crib. Then, if all of the above places were full, I could instantly name you a few dozen joints that were worth your time: some fusion magic (Hello Beasty, Azabu), some places that Aucklanders happily queue for (Lilian, Cotto), some suburban icons with no equivalent in the city (Engine Room, Cazador) and plenty, plenty more. And we haven’t even got to the places that have opened recently. While the rest of the world tucked its tail between its legs, Auckland stretched, breathed in deeply, and launched Omni, a sublime Japanese yakitori, Gochu, a high-concept Korean at the new Commercial Bay development and Ockhee, which is also Korean, also exquisite, but different enough that you realise Auckland is a town that can sustain multiple shades of the same cuisines, without even breaking a sweat.

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Images, clockwise from top: Bistronomy in Napier; an octopus dish from Celeste in Auckland; the sundrenched dining room of Gochu at Commercial Bay; the sashimi platter at Cocoro in Auckland.

An honourable mention Though the earthquakes disrupted and delayed the local restaurant scene’s development, I’ve had some of my favourite meals of all time in Canterbury. Some of them were all about the food, others were about being at the right place at the right time in this beautiful part of the world. Highlights include the North Canterbury region, showcased each year with a food and wine festival that should be on every Kiwi foodie’s calendar. Christchurch’s new Riverside Market offers a couple of dozen different cuisines at a casually excellent level and, if you’re looking to properly sit down for dinner, Inati and Gatherings are two wonderful restaurants that should appear on any shortlist of the country’s best eating.

DIVE IN Gather your friends for a seafood banquet that’s as big on flavour as it is on fun

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RECIPE EDITOR ANGELA CASLEY STYLIST LAUREN FREEMAN PHOTOGRAPHER BABICHE MARTENS

Dill and Parmesan Crayfish PG. 125

Spaghetti with Prawns and Cockles PG. 125

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Dill and Parmesan Crayfish Serves 4-6

Serve these beautiful crayfish halves on a big platter and let your guests get their hands dirty as they enjoy every last bit of this decadent seafood. The tastiest pieces are hidden away in the claws. The secret is the herby garlic butter the crayfish is smothered in, before being browned in the oven until tender and delicious. The best way to acquire crayfish is at a fish market, when it’s still alive. End its life humanely by putting it into the freezer for four hours before cooking. 2 1 6 1 1 ¼

Tbsp butter Tbsp olive oil cloves garlic, crushed cup cream cup grated parmesan cup chopped dill plus extra to garnish ¼ tsp salt and freshly ground pepper 2 x 1kg crayfish, fresh and split down the middle 1 lime, cut in wedges METHOD 1. Melt the butter with the oil in a

frying pan. Add the garlic, cooking slowly for 5 minutes until softened. Add the cream and bring to a simmer, allowing it to reduce by half and start to thicken. Remove from the heat. 2. Stir through the parmesan, dill, salt and pepper. 3. Preheat a grill to high. 4. Place the crayfish on a baking tray. Carefully remove the tail meat and cut into 2cm pieces, then replace in the shell. Smother the meat with the garlic parmesan mixture. Grill for 5 minutes or until golden brown. Remove and eat while warm, garnished with extra dill and lime wedges. Spaghetti with Prawns and Cockles Serves 4

Turn simple spaghetti into a divine dinner party meal with shellfish simmered in white wine, herbs and aromatics, plus radicchio for a burst of colour. Use your largest pot for cooking the pasta, the more salted water the better. Then toss everything together in the same pot. There’s no creamy sauce or lashings of parmesan, just fresh garlicky seafood. If you can’t find cockles, mussels will suffice. ¼ cup olive oil 3 large shallots, finely chopped 5 cloves garlic, crushed 1 long red chilli, seeds removed, sliced 1 cup white wine

300g large prawns 20 cockles, roughly 1 cup chopped Italian parsley 1 radicchio leaves 1 tsp smoked paprika flakes, or a sprinkle of smoked paprika Salt and pepper to taste 300g good quality spaghetti Italian parsley to garnish METHOD 1. Bring a large pot of salted

water to the boil with a dash of oil. 2. Heat the ¼ cup oil in a frying pan. Add the shallots and garlic, cooking for 4 minutes until completely softened. Add the chilli and wine, bringing to a simmer. Add the cockles and prawns and cover the pan for 5 minutes, turning a couple of times until the cockles are open and prawns are pink. Stir through the chopped parsley, radicchio leaves and paprika flakes. Season with salt and pepper. 3. Cook the spaghetti until al dente, drain and return to the large pot. Tip in the seafood mixture, combining well. 4. Serve while hot with extra parsley leaves and an extra grind of freshly ground pepper.

electric beater and whip until thick and glossy. Add the sugar, 2 tablespoons at a time; this should take 10 minutes. Beat through the cornflour and vanilla. Remove the beaters. Add the colouring then use a knife to pull it through, the meringue, to achieve a striped effect. Using two large spoons fill the six circles with meringue, piling the mixture high. Don’t be tempted to play with them too much. Place in the oven for 1 hour 30 minutes, then turn the oven off and allow to cool completely with the door slightly ajar. Store in an airtight container.

3. For the syrup, cut the pomegranate in half. Break the halves into pieces over a pot, collecting the juice. Separate the seeds into a bowl. Add the berries, sugar and Cointreau to the juice and bring to a simmer until the berries become soft. Add the arrowroot, cooking for 2 minutes to thicken. Puree and press through a sieve. Cool completely. 4. When ready to serve, fold half the pomegranate seeds through the cream and dollop on top of the meringues. Sprinkle over the remainder and drizzle with puree.

Pink Pavlova with Pomegranate Makes 6 large pavs

Vibrant pomegranate makes for a spectacular dessert, and adds a little tart crunch to the sweet and gooey pavs. This is ideal for preparing ahead of the party, and assembling just before people arrive. Patience is required for meringues. Use the whole 10 minutes to add the sugar; this allows it to dissolve after each addition. Pavlovas 6 egg whites 1½ cups sugar 2 Tbsp cornflour 1 tsp vanilla ½ tsp red food colouring Sauce 1 pomegranate ½ cup frozen berries ¼ cup sugar 2 Tbsp Cointreau (or use orange juice) 1 tsp arrowroot mixed with 1 Tbsp cold water 300ml cream, lightly whipped METHOD 1. Preheat an oven to 140C (not

fan-forced). Line a baking tray with paper and draw 6 x 8cm wellspaced circles on the paper. 2. Place the egg whites in an

ON THE SIDE Cos Lettuce How to: Cut 2 cos lettuces in half, crumble over 100g feta, season and drizzle with garlic aioli. Warm Vegetables How to: Steam baby carrots and beans until just cooked, then toss in a little butter, salt and pepper. Semi-Roasted Tomatoes and Mozzarella How to: Slow roast 400g tomatoes seasoned with salt, pepper and a drizzle of olive oil. Tear over fresh mozzarella and sprinkle with basil leaves.

Pink Pavlova with Pomegranate

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Lemon Almond Tart with Mulled Wine Tamarillos Serves 8

This is a showstopper of a tart that’s best eaten at room temperature, so take it out of the fridge before guests arrive. Using the zest from a homegrown lemon adds beautiful intense flavour — but store-bought will do. The deep and dark tamarillos add a great kick and colour to this tart, with plenty of gorgeous mulled wine flavours.

Filling 4 egg yolks 2 eggs ½ cup caster sugar Zest of 1 lemon ¼ cup lemon juice 300g sour cream ½ cup cream ¼ tsp almond essence ½ cup lightly toasted sliced almonds Icing sugar for dusting Yoghurt to serve METHOD 1. For the tamarillos: Place a

flour, butter and sugar in a food processor and blitz until it resembles breadcrumbs. Add the single egg yolk and water, blitzing again to form the dough. Roll out on a lightly floured bench to 3mm thick. Line a 23cm tart tin with pastry and refrigerate for 20 minutes. 4. Heat oven to 180C. Line the pastry with paper and rice then bake blind for 20 minutes. Remove the paper and rice and bake for a further 5 minutes to dry the base. Turn the oven to 160C. 5. For the filling, place the yolks, eggs, sugar, zest, juice, sour cream, cream and almond essence in the food processor and blitz together. Let it sit for 10 minutes then pour into the tart shell. Bake for 40 minutes or until just set in the middle — a little wobble is fine. Remove and cool completely. Store in the fridge. 6. Serve with a sprinkling of almonds, a dusting of icing sugar, yoghurt and tamarillos.

Tamarillos 6 tamarillos ½ cup brown sugar 1 cup red wine ½ cup orange juice 1 star anise 1 cinnamon stick Pastry 1 ½ cups plain flour 100g butter, cubed 2 Tbsp caster sugar 1 egg yolk 2 Tbsp cold water

little cross at the base of each one, then plunge into boiling water for 2 minutes. Remove and peel, leaving the stalks connected. 2. Place the sugar, wine, juice, star anise and cinnamon in a medium-sized pot and bring to a simmer. Add the tamarillos, turning occasionally for 10 minutes until softened. Cool completely in the liquid. 3. For the pastry: Place the

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GET THE LOOK p120-121 from left: Gold stroke platter (tomato dish) 33cm, $50, from Freedom; Piccadilly Carafe $70, and Piccadilly tumblers, $15 each, from Citta; Cote Table pasta plates, $25 each, from Corso de' Fiori; Green Dulcette martini glasses, $15 each, from Redcurrent; Costa Nova Lisboa charger plate (blue circular platter) $80, and Costa Nova Lisboa serving tray (blue rectangular platter), $70, from Stevens; Lagom bowl (pasta bowl), $129, from Citta; Momento Coast Cutlery set 16pc, $100, from Stevens; Serena dip bowl (small yellow bowl), $20, from Citta; Menu salt and pepper shaker set, $140, from A&C Homestore; Monroe cork placemats in pumpkin, $12 each, from Citta; Amber Antoinette champagne glasses, $14 each, from Redcurrent; Magnolia vase, $240, from Corso de' Fiori; Finch dinner plate stack, $33 each, from Citta. Jewellery from left: cushion cut tourmaline and diamond ring $31,260, Roberto Coin rose gold ring $2850, rose gold wide diamond cuff $28,500 and yellow gold rope ring (pg 127), $3170, from Partridge Jewellers. Page 124: Dine stripe linen napkin, $13, from Citta. Page 125: IVV footed cake plate 33cm, $195, from The Home Store; Design Forge dish spoon in brass, $23, from Citta. Page 126: Maxwell & Williams tint plate, $15, from The Home Store; Tahoe side plate in seafoam $15, and mint tumbler, $10, from Freedom; platter, cake forks, cake serve, knife and cream bowl all stylist’s own.

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Roots we Sow

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Jo Burzynska speaks to winemakers from around the globe about their path to growing grapes in New Zealand, and the lessons from home they use in viticulture today

“It’s rather unique in the world to have a melting pot like New Zealand,” notes Guillaume Thomas, a Frenchman who, like many involved with New Zealand’s increasingly cosmopolitan wine industry, chose to head here from overseas to make wine. “There are a lot of workers, vineyard and brand owners who come from different parts of the globe, which brings interesting interaction and discussions, since everyone has travelled overseas and respects the different cultures,” he says. Often arriving in Aotearoa by circuitous routes, these international wine folk who now call New Zealand their home, have been feeding their diverse expertise into New Zealand’s developing winemaking culture. Love played a part in Thomas putting down Kiwi roots. For others, fate brought them here. Many were attracted by the energy of our youthful wine industry, the unfolding potential of the country’s wines and land, and the freedom to experiment in ways not permitted in traditional winegrowing nations. All those profiled here, however, have something in common: a love of New Zealand wine and the application of their varied insights in the creation of fine local examples.

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Name

Wilco Lam

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Takaki Okada

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Dry River

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Folium Vineyard

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Netherlands

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Japan

On the Inca Trail in Bolivia, a young Dutchman on a round-the-world trip meets a Chilean winemaker. The winemaker tells him to go to Australia if he wants to seek opportunities in the wine industry. But fate leads him to New Zealand, where within 15 years this Dutchman, Wilco Lam — from a country where no wine is made — has become chief winemaker at one of the country’s most iconic wine estates, Dry River. Better known for its cheese, the Netherlands was nevertheless where the seeds for Wilco’s interest in wine were sown, through his family’s love of wine. After Australia proved a false start, which almost saw his winemaking dreams “evaporate”, a tip-off from a friend led Wilco to study at Christchurch’s Lincoln University, before moving to his first role at Martinborough Vineyards. Then in 2014 he took on arguably one of the most prestigious roles in the New Zealand wine industry, at the winemaking helm of Dry River. “It is, and was, never easy taking on this role,” Wilco acknowledges. “However, a fresh pair of eyes with a different perspective on the industry, wine and business can work in my favour,” he notes. “As a Dutch person, inherently I am not afraid to be direct and opinionated. However, having had to adapt myself to the different places I lived in before, showed me that a certain humbleness towards the essence of our business is required.” As an immigrant to New Zealand, Wilco says part of his journey has been appreciating and learning from Māori culture, which is very different to his own and relevant to his winemaking. “Thinking about winegrowing/ farming through the eyes of some of Māori concepts, such as kaitiakitanga and turangawaewae, gives amazingly different insights and perspectives on how a person and the land are linked and how they provide for each other,” he says. “It is very beautiful to learn about this.”

Kaizen is the Japanese concept of “continuous improvement”. It’s something Japanese winemaker Takaki Okada has observed in the youthful New Zealand wine industry of which he is now part. It’s also a philosophy he actively embraces at his own Folium Vineyard in Marlborough, through not being afraid “to trying something new or different”. After studying horticulture in Japan, his love of wine led him to study viticulture and courses that at the time weren’t offered in his home country. This resulted in two years at University of California, Davis in the US. The promise of New Zealand pinot noir then lured him to Marlborough, where he first worked for the French winery, Clos Henri. Then in 2010 he bought his own Folium Vineyard, where a quest for kaizen to increase quality saw him take the somewhat radical step of dry farming his vines in a region where irrigation is de rigueur. Takaki says he’s very happy to be part of New Zealand’s dynamic wine industry, appreciating the openmindedness of its members and their willingness to share knowledge. When asked of any differences he’s noted between local and Japanese culture, he observes, “I find Kiwis are more innovative, and Japanese are more hard-working in general. I hope I am taking advantage of both!”. Cultural differences, also have stylistic ramifications, as Takaki notes: “The tendency that Kiwis think more is better. And being Japanese, I sometime find less can be better”. This is reflected in his approach to dial back the more pungent aromas in his sauvignon blancs that New Zealand winemakers often seek to maximise. “There are more and more overseas people in this industry,” says Takaki. “I believe it’s important that Kiwis keep being Kiwi to keep the authenticity or originality of New Zealand, which makes this country unique, and adopt new ideas from the others when needed. I hope I can contribute something to the New Zealand industry, which I love a lot.”

"I grew up in the Loire Valley, studied winemaking and viticulture in Bordeaux and the South of France, and have been very influenced by the regional cultures, techniques and wine styles I discovered earlier on in my winemaking career. The wines I make... are strongly rooted in Hawke’s Bay but let you travel through different regions in France." — Guillaume Thomas

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Edward Leung

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Patricia Miranda-Taylor

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Guillaume Thomas

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Ma Maison

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Wither Hills

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Maison Noire

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Hong Kong

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Chile

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France

There seems to be a connection between dentistry and wine, with a number of wineries founded by those dedicated to tending our teeth. Less common however, in New Zealand especially, is to find a winery established by a dentist who hails from Hong Kong. This is the case of Edward Leung, who founded Ma Maison in Martinborough with his New Zealand-born wife, Marjory, after moving to Dunedin to learn his dental trade. Food was the first step towards wine for Edward. Alongside his work in dentistry, he’s worked as a baker, takeaway owner and finedining restaurateur, and Marjory was raised in the fish and chip shop trade. The couple initially started the Ma Maison restaurant in Wellington, where Edward still practices as a dentist. Then in 1993 they took the plunge and purchased a small block of land in Martinborough, planting chardonnay and pinot noir, the latter a particular passion. Hong Kong’s humid subtropical climate is no place to grow the sensitive cool climate variety pinot noir, and Edward doesn’t think he would have made pinot noir if he wasn’t in New Zealand. “I love pinot and that is the reason I went into the pinot business in Martinborough,” he explains. The main culture he’s embraced at Ma Maison is French, from the name of the estate, to the low-trellised dense planting system as used in pinot noir’s heartland of Burgundy, albeit embracing the greater freedom he observes that we have here in New Zealand outside the traditions of France. When it comes to his motivation to make wine, Edward states, “We think this is not a cultural thing, just our personal appreciation of wine, and specifically pinot noir”.

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“It was when working in Napa Valley I tasted several New Zealand sauvignon blancs and I remember immediately falling in love with the vibrancy, fragrance and flavour profile of the 2003 vintage,” Patricia Miranda-Taylor recalls. “This made me decide I needed to do a vintage in Marlborough and experience these wines first-hand.” Chilean-born Patricia was already on her winemaking odyssey when this sip of sauvignon sent her off to New Zealand, where she now makes wines for the well-known Wither Hills winery. Growing up working on her family orchards south of Santiago naturally segued into studying to be an agricultural engineer, specialising in economics and viticulture/ oenology. After a brief stint in a bank and two years working as a winemaker in Chile, she realised her passion was for wine, and opted to broaden her winemaking horizons. “I decided to travel overseas to gain experience in other wine-growing countries,” she explains. “At the time not many female Chilean winemakers did this. I was very adventurous and I literally never looked back.” A vintage in Australia and several in the US ensued before that eureka moment took her to Marlborough on the trail of New Zealand sauvignon blanc. After a winery internship, an assistant winemaker’s role, and some more vintages in Germany’s Mosel and France’s sauvignon centre of the Loire Valley, she was swiftly promoted to chief winemaker, initially at Marlborough’s Isabel Estate. Patricia says she appreciates the openminded, innovative and supportive approach of the New Zealand wine industry, as well as its cosmopolitan nature that’s seen her make friends here “from all corners of the globe”. As Chile is a close competitor of New Zealand in the sauvignon blanc stakes, which country does she think makes the best examples? “New Zealand and Chilean sauvignon blancs are different styles indeed,” she notes, concluding diplomatically that there’s “generally outstanding quality from both countries”.

Born in the Loire Valley, winemaker Guillaume Thomas set out to discover the New World, and found love during his first vintage in New Zealand. This affair of the heart stopped him in his tracks, leading him to marry a New Zealander, Esther, and settle in Hawke’s Bay where the couple established the vineyard and wine label Maison Noire in 2014. He’s now fusing the two cultures, making New Zealand wines with a French twist. One of the things Guillaume first noticed on arrival to New Zealand was its wine culture’s emphasis on marketing rather than wine as embedded in the lifestyle: “In France, wine is part of everyday life, especially around meals, whereas in New Zealand it is not necessarily the case; it’s consumed as a social drink after work or before a meal.” However, observations from his travels led Guillame to consider New Zealand as “the closest to the French terroir and climate”, with the additional benefit that it’s possible to make a wider range of styles within a single region. “A region like Hawke’s Bay is a gem for winemakers because there are so many microclimates that you can grow and make very interesting wines similar to the Loire Valley, Bordeaux, the Rhone Valley and Burgundy, not to mention Spanish and Italian styles. The soils are generally younger and richer, which makes the wines slightly more fruit-driven than in France,” he says. Guillaume is now working with grape varieties from across his homeland, including harnessing the New Zealand potential of chenin blanc and cabernet franc, as well as the sauvignon blanc of the vineyards of his birthplace. “I grew up in the Loire Valley, studied winemaking and viticulture in Bordeaux and the South of France, and have been very influenced by the regional cultures, techniques and wine styles I discovered earlier on in my winemaking career,” he explains. “The wines I make reflect this duality: they are strongly rooted in Hawke’s Bay but let you travel through these different regions in France.”

Enter the wild. Explore 80 kilometres of private roads and trails, secluded forests, pristine waterways and dense New Zealand bush all within Tokomaru’s exclusive 3,000 acre estate. Travel by helicopter to our hilltop lodge after a day spent hiking in Tongariro National Park or take a Can-Am from one of our luxury cabins to begin a day hunting for fallow deer and wild boar. Arrive in Autumn for the opportunity to stalk a prized red stag

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during their annual roar and to track the distinctive bugle calls of our wapiti elk. From fly fishing for brown and rainbow trout to mountain biking through endless redwood trails, there is always something new to experience at Tokomaru. Whether you’re an adventure seeker or simply desire to reconnect with the land, we look forward to sharing our patch of grass with you.

Into the void Steambent rimu Jamie Adamson Punk City Acrylic on Canvas Christian Nicolson

Inside the hive Acrylic on Linen Rosemary Eagles

Tractor Vessel Ceramic Bill Hayes Red Dress Figure Steel/Corten Base Anna Korver

We let the art do the talking.... www.artbythesea.co.nz Art by the Sea gallery 30 King Edward Pde. Devonport, Auckland Ph: 09 445 6665 Mob: 021577078 The Heaphy Oil on Canvas Nicky Thompson

The Chameleoman Acrylic on Board Dean Raybould

DESIGN

CULTURAL EXCHANGE

PHOTOGRAPHY / SUPPLIED

Building connections between New Zealand and Japanese creatives is paramount to Public Record — a retail and gallery space on Auckland’s Ponsonby Rd — where owner Yuka O’Shannessy has developed a collection of fashion, fine crafts and design pieces. Yuka, originally from Tokyo, seeks out items that transcend trends and celebrate the process of craftsmanship. “I work closely with a gallery in Gifu, Japan,” she says. “This allows me to introduce artists, many of whom are sought after over there and booked out for years in advance. To have access to their work, as I do, is very special.” Junsuke Inatomi is indicative of the kind of artist Yuka represents. His vessels, featured here, are highly scupltural and while he focuses on creating perfect lines when he starts on a piece, the result is organic and ethereal. “He likes to work with his hands, not his eyes,” says Yuki. “He attributes his aesthetic to his childhood and visiting museums and galleries during Japan’s ‘bubble time’ at the height of the Japanese economy.” Public Record's local creatives include the likes of Ben Pearce, who explores the energy of objects from his studio in Hawke’s Bay; Wellington-based weaver Rachel Long, and South Korean designer Woo Lam Chai who works with discarded or recycled wood from his Titirangi base. Helping these artists show in Japan is part of Yuka’s vision, as well as hosting public workshops on Japanese traditional crafts. Kintgusi, kurinuki and calligrapy classes are all planned for the next few months. “It is all about collaboration and exploring each other's cultures through art and creativity.” 76 Ponsonby Rd, Auckland. Publicrecord.shop

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13.11.2000 by Mark Adams Hinemihi, Clandon Park, Surrey, England. Nga Tohunga: Wero Taroi, Tene Waitere C type prints from 10 x 8 inch C41 negatives, 1335 x 1065mm each print

Five New Zealand artists, five diverse voices . . . Ginny Fisher jumps down the rabbit hole that is the artist’s mind to discover there is always more than meets the eye when it comes to viewing art

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THE LENS THAT CAPTURED THE MEETING HOUSE If you don’t already know the story of Hinemihi, the whare hui (Māori meeting house) purchased for 50 pounds by Sir William Onslow in 1892 and shipped to Surrey; then Mark Adams, one of our most distinguished photographers, will ensure you never forget its journey to the garden at Clandon Park House, where it still sits under the dappled shadows of oak trees. “I want the viewer to see every blade of grass, every piece of information,” he says of the highly detailed, large format photograph that has been split into three parts to make a compositionally compelling edition, supersized to transport the viewer to Surrey. Hinemihi’s story began in 1880

WISDOM →

with its construction at Te Wairoa in Rotorua’s volcanic lake district. Just six years later, Mt Tarawera exploded, destroying every building in its path, except for Hinemihi, which astonishingly survived the carnage and in the process, saved 50 people sheltered inside its masterfully carved walls. What led Mark, 71, who studied fine arts at Ilam, to capture this image of Hinemihi’s resting place, was a careerlong fascination with our cross-cultural history and the trading of taonga. Since 1979 he has been visiting Rotorua, a place Mark describes as the “nexus of our cross-cultural situation”. It was there he befriended Jim Shuster, whose great, great grandfather, Tene Waitere, carved Hinemihi and who has since advised England’s National Trust on its restoration. In 2000, laden with his cumbersome large format (10x8 inch) film camera, Mark travelled to Surrey to capture Hinemihi with the same lens turn-ofthe century photographers might have looked through — a bucolic scene with the billowing dresses of English roses floating through. The camera he uses today, made of wood, glass and brass, is not so different to the first cameras developed in the 1840s. Mark's camera has moving parts, allowing him better control of perspective and depth of field, but making it difficult to transport and shoot with. Each panel in this work was taken at least three minutes apart, as each new shot required him to swivel the camera then reset the plates. As the late-winter light continues to fade, the slight differences in exposure can be seen in each panel. Although there has been some ire in the Māori community concerning Hinemihi’s return, Mark remains neutral. “The house was purchased, so the story is complicated and I’m interested in the complications. It’s not my house, it’s not my business. My business is talking about our history to Pākehā. It’s important to look at our culture of colonialism; we are here because of imperial outreach, it’s created our history. An invasion is a difficult history, there’s no way of escaping it and I’m interested in looking at it square in the face.”

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Succession by Yona Lee Objects. Stainless steel, 2020

THE LUMINARY Yona Lee sounds crystal clear on a call from her birth place, Busan, South Korea. “It’s weird to be here,” says the 34-year-old sculptor, who immigrated to New Zealand in the 1990s. “Everyone is wearing masks, it’s surreal. You get a sense of anonymity. It feels strangely comforting actually.” Yona, an MFA graduate from Elam School of Fine Arts in Auckland, 2010, was invited to the Busan Biennale last year and was surprised to learn a few months back that it was still going ahead. She travelled to Busan at the end of New Zealand’s first lockdown and is enjoying reexploring the places where her father grew up. While there, the artist has had time to reflect on her art practice. “Before, my art looked at how people travel through spaces — public, private; yet now it is so difficult to travel, so I’m looking at how we move through different spaces in our homes in selfisolation. My new work is focused on how we travel through domestic spaces.” Her earlier work consisted of large-scale sculptures like labyrinths of stainless steel, twisting and contorting, emulating moving platforms with their sinuous lines travelling from one wall to another, challenging the viewer’s perceptions of sculpture. These works were often site-specific, responding to the architecture of the space. Despite her art being visually arresting and intellectually challenging, Yona had feedback from both her dealer gallery, Fine Arts Sydney, and an interested collector — the Gallery of NSW — that it was impossible, due to scale, to actually collect. Her response was to break down her larger sculptures into modular elements. These smaller scale works, still in stainless steel reflecting her fascination with this widely used metal, appear in Succession, her current show at the Dunedin Public Art Gallery. These novel sculptures connect

to and activate the walls with light and seem to Yona like musical instruments. A classically trained cellist, she says these works are her most musically inspired to date. “There’s a tension between each object, I see them more like paintings, in this case the walls of the Dunedin Gallery were very fragile, so I had to respond accordingly.” Each piece was hand welded by the artist — one is topped with an

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old-fashioned mop head, another with a stiff hand towel. “A mop is very banal, so is a hand towel, we always use them, yet we place no value on them. I was interested in giving them value.” The lightshades were custommade and bring an element of colour that has previously been missing in her work. Yona says her Korean and New Zealand experiences combine to bring out unexpected results.

“In Korea, everything is very efficient, modular, standardised, simplified; in New Zealand objects are more intricately designed and there is more time for reflection.” She says her Korean connection has helped her become more inventive with small spaces and source materials at a better price, while her New Zealand education has made her realise how process is so important to art-making. “It helps me ground my practice and work in a more intricate way."

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Tahupotiki by Aroha Gossage Oil on board, 755 x 500mm, 2020

A SENSE OF PLACE Painter Aroha Gossage knows exactly where she belongs. And her work is inextricably linked to the idea of her spiritual connection to her ancestral whenua (land) at Pākiri. Her recent show at Artis Gallery, featured atmospheric paintings of her whānau gardening and growing kai on the land. There’s her grandmother gathering kũmara in a hazy field, her brother standing calmly with his horse; scenes steeped in memory. “The precious knowledge our mother gave to us — how to fish and how to grow kai, is so important to me. I feel it’s part of our connection to our whenua. We move away, we live in two worlds, but we always return back to our hau kāinga [homeland].” In the work Tahupotiki, named after her brother, she articulates the spiritual connection between man and horse. Aroha paints mostly from memory but has a collection of photographs and drawings as reference. She works on board so she can roughly manipulate the surface — sanding between layers to create ghostly forms and ethereal veils. Often she uses earth pigments — collecting different coloured clays from Pākiri, applying them as thin washes that are sanded before adding oil paint for more colour and form. “These rich, earth colours, you can’t buy in a tube,” she says. Aroha hopes the viewer will find awareness and empathy for an indigenous connection to the landscape in her work. “Perhaps my paintings could open up a way for people to experience how we, as Māori, maintain a connection to our whenua through our maara [garden].”

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Trees For The Forest by Christina Pataialii Acrylic and house paint on canvas, 177 x 166cm, 2020

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CHANGING TIMES Rather than reflect on her bicultural Samoan and Pākehā upbringing in Auckland, Wellington-based painter of the moment Christina Pataialii would rather discuss what is coming next, not just personally, but for the wider social fabric of society. “Many of my thoughts in the past few years have been focused on observing global and cultural shifts, and I often come back to the idea there is so much detail, it makes it hard to grasp the bigger picture. I often think about what form the 21st century will take, where we are and how we prepare to move forward into an unknown space,” she says. The work Trees For The Forest, (meant in reverse), explores this idea by contrasting areas of detail with more abstracted forms. It’s not entirely clear if the

work is figurative, an abstracted landscape, or pure abstraction; the marks draw the viewer in and out with hints of familiarity, then obscurity. Her recent show, Home by Dark, marked a shift in the artist’s palette — greens, blues, greys and blacks reigned, and a more delineated compositional style hinted at a more Cubist influence. “My recent works have shifted to a more muted, darker palette. I had been thinking about the shift in light, particularly as day shifts to night, and as your eyes adjust, taking in less information as the immediate environment shifts into abstracted forms.” These ideas were spawned by memories of playing out on the street before dark in West Auckland when she was young. “That moment when you get back home, just before the streetlights come on, that hyper-alertness when you begin to lose clear visibility. It’s a mixture of fear and excitement.” Her residency at the Gasworks in London last year was an important time for reflection and observation. “I think being out of a local framework offers the opportunity for shifts in your perspective.” On her return, Christina felt a stronger sense of home, becoming more aware of the subtle things about life in New Zealand that shapes the way she sees and relates to the world. In these new works, she might suggest rolling, shadowy hills, a glimpse of a view from her window, the shape of a rugby boot, the taste of an apple. The rest is up to you.

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I am what you make me by Wayne Youle C-type photograph and handcut screenprinted paper bags, 2009. Collection of the artist.

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OLD CONVERSATIONS Wayne Youle makes you feel like you’ve known him for years. And his art-making also has a familiarity — raising old racial conversations, over and over again. “Sadly, this is a theme that just keeps coming up,” says the established mid-career artist from his Amberley studio, as we discuss his work I am what you

make me, 2009. His bicultural heritage (Ngāti Whakaeke, Ngāpuhi, Pākehā) has led Wayne to examine New Zealand’s racially charged history and his own bicultural experiences — of not quite knowing where he fits in, and constantly having to qualify his ethnicity. The work consists of two piles of screenprinted hand-cut paper bags and was first shown as an

installation at a group show in Auckland 11 years ago. Viewers were invited to choose from the stacks of paper bags — either Māori or Pākehā — to place over their heads. The photographic image of a boy wearing both paper bags is an artist’s copy. However, today the work is available as two framed screenprinted hand-cut paper bags through Wayne's gallery, {Suite}. “It was my way of saying, ‘Today it’s just easier if

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I don’t have to explain myself.’ A paper bag on the head stops the discussion.” He adds comically, “If I’m going to a hui in the morning I’ll put on my chocolate skin, but later for dinner and dancing, I’ll put on my white skin.” Humour and quirk have always been part of Wayne’s work. “It’s my way of opening the door to prickly questions.” Although he doesn’t move in

circles where people discriminate on the basis of skin colour, Wayne thinks it’s plain bizarre that it’s still a “thing”. “Look, I think we’re getting better at multiculturalism, this country is so rich in ethnicity, and while we’re happy to experience cultures through food and acknowledge different religious beliefs, I don’t think discrimination will ever go away entirely. So, we must keep on challenging.”

Wayne’s most recent work from his Colin McCahon House residency is titled 'ELEVATION' and is available to view at {Suite} Gallery, 189 Ponsonby Rd, Auckland from September 9 and at Te Uru Waitākere Contemporary Gallery, September 26-November 29. •

DESIGN NOTEBOOK

An off-grid cabin, beautiful textiles, stylish dining set-ups and more New Zealand design finds

PARADISE FOUND

If your soul is seeking a remote off-grid cabin, no internet or mobile coverage, just you and nature in the wilderness, may we suggest Paradise. Yes, Paradise does exist, 20 minutes out of Glenorchy at the head of Lake Whakatipu, nestled between Fiordland and Aspiring national parks. Choose your cabin, there are nine hidden around the 121ha property, each with its own charms — wood fires, outdoor baths, breath-taking views . . . Pack a few essentials, put your walking shoes on (a 10-minute walk from the carpark may be required) and prepare to be at one with nature, just as generations of New Zealanders have before you. Paradisetrust.co.nz

HANG IN THERE

Queenstown’s Slowstore is a treasure trove of consciously selected homewares and fashion. We like this clever cabinet by Danish brand Ferm Living, a wall-mounted shelving system for storing essential items in a visually appealing way. Made from wired glass and powder-coated metal, the cabinet's shelving is perfect for storing beauty items in the bathroom, glassware in the kitchen, or positioned in an entranceway for storing keys and knick-knacks. Ferm Living Haze Wall Cabinet, $930, from Slowstore.co.nz.

VU WITH A DIFFERENCE

SOFT TOUCH

There’s no greenstone to be seen at Vu Jewellers, which is unusual for Queenstown, but owner Claire Antill’s heart lies in handmade, bespoke pieces and she believes Vu is the only New Zealand store to showcase all three jewellery disciplines — fine, craft and contemporary. Diamonds and precious metals sit beside studs made of recycled skateboards and pendants from melted gelato spoons in this contemporary space. Claire remodels, remakes and repairs, and crafts bespoke pieces using client-supplied gems. Gold can be sourced from the Shotover and Arrow rivers if required. Vujewellers.co.nz

This luxury blanket by cult Danish brand Tekla is crafted from ultra-fine merino wool, making it soft and supple. It features a plaid pattern and eyelash endings and is a comforting addition to have draped on the end of the bed or over an armchair to add colour and warmth. Available from Simon James, Tekla also design organic cotton towels and cosy hooded bathrobes, which is exactly the kind of cosseting we all need right now. Fine merino blanket in tartan, from $690, from Simon James. Simonjames.co.nz

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CIRCLE OF FUN

Bursting with playful energy, these footed candles from Jiho Store combine a mid-century modern vibe with a hint of irreverence, designed to be mixed and matched and suitable for pairing with most candlesticks. Designed by Jiho Yun, one half of Auckland design studio Walk in the Park (which has released a range of matching candleholders), the candles come in three sweet colours. Footed sphere candle, $38 each, from Jiho Store. Jiho-yun.com

ON THE DAILY

Finding the perfect armchair can be a challenge, with comfort and design both prerequisites. The Daily armchair from Citta strikes the perfect balance of classic yet modern design. Designed in Citta's Auckland studio by David Moreland and Nikolai Sorensen, the chair takes inspiration from mid-century style, with a timeless aesthetic. It comes in 11 stylish colours that will translate into many living spaces, from dusky pink to sky blue, pebble and khaki. The frame is made from American oak, with interesting joins and negative detailing. A design feature that's most prominent is the backrest, where dowels create a series of repetitive junctions, making the rear view just as appealing. Daily Armchair in Husk Musk, $1966, from Citta. Cittadesign.com

FINE DINING

This stylish and functional new dining option from BoConcept makes eating at home (of which we’ve all been doing more of) an elevated experience. Designed by Morten Georgsen — a Danish designer renowned for simplicity and innovation — the Kingston table has tapered legs for a light Scandinavian feel and a built-in extension leaf, while the streamlined and organic shape of the Princeton chair provides a comforting, cocoonlike effect. The table comes in two sizes with a choice of three finishes, while the chairs have two different base finishes and your choice of upholstery from BoConcept’s fabric and leather collection. Kingston dining table, $2499, and Princeton chair, from $869. Boconcept.com

TEXTILE MECCA

LAY YOUR HEAD

Who says pillowcases have to match? Klay's are handmade in Auckland from natural cottons and linens. The range of 11 styles, including check (pictured, $48), gingham, pink and emerald is made to order and sold individually, perfect for mixing and matching. Klay.co.nz

For more design ideas visit Viva.co.nz.

Resene Adrenalin

OPPOSITES ATTRACT

Inspired by this joyful issue and the brave energy required this year, unexpected colour combinations will uplift your interior - hues like Resene Cupid and Resene Wallpaper Collection SV2603.

www.resene.co.nz/colorshops

Resene Brown Pod

It pays to look up when strolling Arrowtown’s Buckingham St, for the Stitchwallah Textile Studio flag, which leads you into the Coachman’s Hall and up the stairs to Hilary Niederer’s Aladdin’s Cave of Indian fabrics and artisanal homewares. Through moviecostume jobs and time living in Mumbai, Hilary has spent more than 30 years sourcing different types of weaving, printing and embroidery from across India. The store is draped with wool and khadi cotton throws, blankets and scarves, tablecloths, hand-stitched quilts, recycled sari kilim, bags, cushions and sarongs. It’s the most tactile and dizzying experience in the South. Coachman's Hall, 39 Buckingham St, Arrowtown

Resene Half Pale Rose

Viva + Mitre 10

In Good Company: Exploring the surprisingly chic kitchen ideas at Mitre 10 Viva creative director Dan Ahwa shares his top picks inspired by Mitre 10’s Aphrodite Kitchen.

f you’ve spent lockdown re-organsing your pantry twice over or pottering away at those last-minute home improvements, you’re not alone. While we’re spending much more time than ever in our own homes, it makes sense that we’re paying more attention to how our spaces make us feel. The kitchen is the heart of the home, a communal space where food comes to life. Mitre 10’s free design service and instore consultation ensures a wide range of stylish kitchens from dark and sleek to light and fresh, but we’re particularly inspired by the soothing elegance of the Aphrodite kitchen. There’s a calming sophistication about this set-up, with a beautiful Carrara marble acrylic splash back anchoring the kitchen, framed by a mid-hue Southern Oak melamine wood. Another key feature of this kitchen is the crisp, satin-white cupboards — like a freshly washed white cotton shirt, this brightens up the space and makes it feel light and inviting. Inspired by the organic nature of this Aphrodite kitchen design, I’ve selected a few key pieces to transform this kitchen space into one that’s even more warm and personalized — all at an affordable price.

Choosing the right colour palette can be daunting. For something calming, I love the neutrality of Resene Half Duck Egg Blue.

Dan Ahwa Fashion & Creative Director

For more inspiration and expert advice on creating your dream kitchen, visit Mitre10.co.nz/kitchens

THE FINISHING TOUCH

Marble accessories are a great way to add some sophisticated flourishes. Judge marble mortar & pestle $49.90

A sleek microwave enhances the cool tones of this space. Omega 25L 900 Watt Microwave $299

Lighting Good lighting is key to a cosy kitchen, and pendant lights add a touch of style. Mercator Melba clear Glass pendant $119

Brushed brass details add elegance to tapware. Stream Sink Mixer $279

Flooring Flooring should complement overall styling aesthetic. Paris Tile $79.99 per/sqm

Storage Combining functionality and clever engineering, the pantry is now an elegant addition to the kitchen. Hafele Tandem Solo Pull Out Pantry $1,499

THE

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Corporate world escapees David Edwards and Jo Elwin have transformed this historic woolshed, on a 17-acre block in Bannockburn, into a charming living quarters.

SIMPLE LIFE

Food writer Jo Elwin and her partner, David Edwards, packed in their hectic Auckland lifestyle for the rural idyll of Central Otago's Bannockburn and the basic comforts of a new temporary home, a woolshed PHOTOGRAPHY Tim Hawkins

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s if I needed reminding, my phone has pushed a photo memory showing that it was three years ago that I moved into a woolshed. It was greeted with a sarcastic "yay". It was exciting back then. David and I had packed in our demanding Auckland life and settled in Wānaka where we had said we were heading for 17 years. The woolshed was the result of a drive to Bannockburn so that David, an architect, could check out the historic shed. We had no intention to buy here but, as we wound our way around the Kawarau River through the vineyards, we realised that this Central Otago locale was what we were looking for. We’d been struggling because "new Wānaka" was forcing us into the same pricey, dense suburbia that we disliked about Auckland. The 17-acre block had an approved building site, and we could live in the woolshed while the house was being built. We bought it the next day. It took David 10 months to make the woolshed habitable and he designed it very much for temporary living — becoming guest accommodation once the house is built — so it's close quarters, made up of a sitting area with kitchenette (I am a food writer with no oven!), a sleeping area and a bathroom. Another built-in space will become a bunkroom once it stops storing our furniture and homewares, a very-much-inuse oversized fridge and an expanse of kitchen kit that I cannot function without. These sleeping quarters, as I like to call them, take up 60sq m of the 500sq m woolshed that David

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wants to conserve, so he has designed them to be unobtrusive. When standing in the woolshed all you see are walls lined with rough-sawn New Zealand larch, stained with litres of gumboot tea to give it a similar appearance to the original timbers. The doors are the same, so that they disappear when closed. People think they are walking into a cupboard and, surprise, it’s our home … of three years! David refers to it as the "smoko room" and, if shearing were once again to take place, that’s what it would be (they only stopped six years ago and the machines on the shearing board are in working order, so it is possible). Little structural work has been done to this old tin shed that rattles on its crumbling concrete piles in the frequent high winds, so it may all have to be redone at some stage and we have factored that into the build. There’s an impermanence to everything David has done inside. The walls and floors are plywood. Windows are a series of small squares that run down the length of the space, in keeping with what was there. From the outside they look original, inside they have solid wooden frames that are double-glazed to provide more comfort than the decaying, Perspex-covered windows of the main shed. David made the kitchenette and bathroom cabinetry out of ply, to give the effect that it has been cobbled together to serve a purpose, the benchtops are oiled for a bit of protection, but the idea is that it’s cheap enough to replace when damaged. For guest purposes, the kitchenette will have a microwave only, but we have set up a gas burner while we are living in it. Most of the cooking happens out on the barbecue in the woolshed, which conveniently has a slatted floor open to the elements. David salvaged the timber and tin that came out for the build and some of those slatted floorboards have found their way into the bathroom where they create the shower floor. The 2.5m-long shower is generous for such a small space, but every day, as we luxuriate in there, we’re thankful we did it. There’s no expensive, weighty tiling, rather sheets of HardieGlaze lining and a large glass shower screen. The mirrored wall above the vanity also helps to create a sense of space and ensures the look is unfussy. The entire floor has been thinly painted dark grey to create a slightly worn look and we have used it on the kitchenette and wardrobe recesses to match the dark bathroom and to unify these utility areas.

Clockwise from top left: A glimpse of the kitchen and the sleeping quarters beyond; The open living, dining and games space gets very cold in winter, but is magic in summer with the sliding doors open to the outside; In the cosy new sleeping quarters, which is lined with plywood, wool blankets hang from copper pipes, becoming curtains when needed.

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Window treatments had us stumped. Fitted blinds or curtains would be too considered but we needed something to close out the cold and the light. We had hooked up blankets in the meantime and realised that this was what we wanted, only better. We sourced old New Zealand wool blankets and hung them over lengths of copper piping, which then sit on large handforged nails on either side of the window. During the day, a third nail allows you to pick the whole thing up and hang it to the side of the window, rather like a wall hanging. We struggled to find old brass tapware, so we went new in a brushed brass that has developed a patina, which ages them. The modern lines work better — we could have been bordering on twee the other way. Our little ply box is cosy warm in winter and cool in summer. David, as well as labouring over the hanging of every sheet of ply — grains matched, and every single nail lined up — ensured sound insulation. The rest of the woolshed remains uninsulated and gets extremely cold. We don’t spend a lot of time out

IN MY AREA Food writer Jo Elwin highlights some mustsees near her new home in Bannockburn

• Bannockburn, halfway between Queenstown and Wānaka through the Kawarau Gorge, is wine country. Home to New Zealand pinot noir pioneer Felton Road, and many other acclaimed pinots, its quality terroir also produces some of my favourite chardonnays and rieslings. •An amble around the cellar doors of Mt Difficulty, Domain Road, Gate20two, Desert Heart, Akarua and Te Kano will give you dramatic views of the region’s ranges, rivers and lakes. •For lunch, head to the locals' favourite, Desert Heart, where owners Jane and Denny will set you up with a table on the lawn to while away the afternoon grazing on one of their generous platters. Proper sit-down lunches are served at Carrick and Mt Difficulty. •Stretch the legs with a walk up the sluicings where gold mining has reduced the landscape to a desert of cliffs, pinnacles and deep gullies that will transport you to the Wild West. Or hit the new cycle trail, which will eventually take you along the Clutha River to Clyde. • The Bannockburn Hotel takes its wine as seriously as the vineyards surrounding it. Owners Anna and Andy have shaped the historic "pub" into a restaurant and bar with modern tapas and shared plates that give this local a global flavour.

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Clockwise from top left: Sluicings left over from the gold mining era are carved into the hills; The corrugated iron shed has had little structural work done and rattles in high winds; The slatted floor and ply cabinetry in the bathroom, built by David.

there over winter, but for the rest of the year we open all the sliding doors and it becomes one big living, dining, games room. It’s like a tent, providing shelter from the sun, wind and rain. It’s a great big happy indoor/outdoor space — a party waiting to happen, and it has given us more than a little design direction for our house. David has started tinkering in other parts of the woolshed. We have grand plans for how it could be used, and it will remain his folly for many years to come. At Christmas a tree goes up (part of our wilding pine cull) that reaches 5m into the rimu rafters for the neighbourhood Christmas party and, as part of the annual Across the Bridge Bannockburn Arts Festival, the shed provides exhibition space for local artists. It serves as David’s architecture studio and the ideal space for my food photography. Previous owner, photographer Tim Hawkins, who we asked to take these photos, used it for a lot of his work. “There is such great light here,” he says. “I would get brides to stand under the skylights to pick up all the detailing of the dresses.” We like that the shed continues to be used for such events, and that at some stage we can move out for others to enjoy staying in it. However, with a Coviddriven economic crisis looming, I think my sarcastic "yay" is becoming a more genuine one. Maybe the expense of a house is not what we need right now and this simpler, woolshed life is what we came here for. David has inadvertently created a comforting space for us to hunker down in against a pandemic. •

MY TOWN

Friends of Viva share highlights from the place they call home, including hidden gems, things to do and where to eat, drink, visit and shop

the environment and art. After a long time overseas, I’m thinking about what it means to be a New Zealander and the way art impacts how people feel about the world and themselves. There are many creative people here from grass roots

practitioners to passionate exponents, dealers and collectors of art. It’s a vibrant scene. After living in busy innercity Toronto it’s been a huge

change to drive just a few minutes home to Maunu, a garden suburb on the outskirts of the city. I love the sound of the tūī and wood pigeons and enjoy walking at night with our American Eskimo dog (a Canadian canine immigrant).

most beautiful beaches towards Whangārei Heads. It has lots of walking tracks, stunning views and bird life. The Smugglers Bay — Busby Head Loop Track is a must. Artists I’m inspired by include Chris Booth, whose

sculptures are a feature of Northland. Growing up, my family knew painter and photographer Eric Lee-Johnson, whose wife Elizabeth taught me, and I'm fortunate to own one of his works. Friedensreich Hundertwasser was a celebrated artist in Europe before he made Northland his home. Discovering his works and philosophy on living in harmony with art and nature is a real privilege for me.

For dinner I head to The

Quay with friends or colleagues. It sits alongside the waterfront and has a great pizza menu and delicious seafood. The service is friendly and attentive, and they have an excellent wine list.

MY TOWN: WHANGĀREI

Kathleen Drumm, chief executive Whangārei Art Museum, Hundertwasser Art Centre, Wairau Māori Art Gallery I went to high school in

Whangārei, and after working in Auckland, Wellington, Sydney and Toronto, I returned in 2019 to head up the Hundertwasser Art Centre and Wairau Māori Art Gallery project. I’m also leading Whangārei Art Museum. I left my role as industry director at the Toronto International Film Festival to come home and lead a $30

Parihaka — an extinct volcano in the heart of the city. It’s a former Māori pā site with exceptional views.

Gathered in Rust Ave has

Whangārei’s Growers’ Market

well-designed, stylish homewares, chosen with care by its owner.

was the first market of its kind in New Zealand and takes place every Saturday morning in Water St. The market has a rule that all stall holders can only sell produce they’ve grown themselves.

the Hātea Loop. It takes an hour to complete the circuit past waterfront cafes, outdoor sculptures, ramshackle old boat sheds and over three bridges. The Butter Factory has live

From top: Gathered Store has great homewares; Dinner at Quay Street Kitchen. Right: A Chris Booth sculpture in Kerikeri Domain.

music on offer, with gigs by local and national artists. I’ve chanced upon outdoor mini concerts on weekend walks, notably opera singer Kawiti Waetford who was performing next to the Hihiaua Cultural Centre on the Hātea Loop. We love heading out to

Smugglers Bay, one of the region’s

Visitors to Whangārei should drive to the top of

The biggest event on my calendar is the opening

of the Hundertwasser Art Centre and Wairau Māori Art Gallery in December 2021. We’ll be bringing to fruition a community-driven project 27 years in the making. It’s exciting to be part of a unique project in a region that has been overlooked for decades, which is now coming into its own. The area is attracting creative people skilled in the arts, technology, engineering and hospitality. I predict exciting things to come.

Photo / John Stone

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world. That’s not an opinion, it’s a fact! At Sabio they roast their own beans, and Fat Camel Cafe serves up delicious Middle Eastern fare. I often grab a flat white from Deluca because it’s a good blend, the staff are nice, and they have the best homemade cakes.

There’s a 4km pedestrian walkway in the Town Basin called

million art centre, which is under construction by Whangārei’s waterfront. The building will be home to art galleries, a museum store, theatre and restaurant and a rooftop with 200 trees and thousands of plants. I’m fortunate to work with talented people who have a deep knowledge of art. We want to fuel conversations around the profound relationship between people,

New Zealand does coffee better than anywhere else in the

70s. There’s a fair bit of urban decay, which is sometimes sad, but mostly it’s fascinating and beautiful. My go-to restaurant is Maria Lane. The owners, Bryce and Belinda, are long-time hospitality pros who were part of the Sandwiches team in Wellington, and head chef Isaac spent a number of years in Melbourne before coming back to his hometown. Maria Lane would hold its own in any city for cocktails, service, and great food. For takeaways it’s Delicious North Indian Takeaway in Gonville. The husband and wife team make every meal from scratch, so make sure you allow a good 45 minutes to pick up. I’ve never had a better samosa, and their tikka masala is marvellous. For coffee I head to Article

WHANGANUI

Anthonie Tonnon, songwriter and performer My wife, Karlya, and I moved to Whanganui in 2017. When

we lived in Auckland, I would play shows here — it was one of the best places to play, alongside Wellington. We found ourselves staying longer to see old friends of Karlya’s. When we got engaged, those friends were running a venue in a deco-era fire station and offered it to us as a wedding venue. We had a wonderful time getting married in the middle of the city with all our friends, and staying in a friend’s modernist house on St Johns Hill. One thing led to another and we moved a year later.

A bar I like is Porridge Watson. When our friend Thony wanted to start a bar, he asked 100 friends to put in $100 to buy his taps so that he didn’t need to sign up to a large brewery. He put our names on a bowling club-style board on the wall, and we all get a dollar off for life. Thony has a great, and often weird selection of beers — a dream come true for me. He has a nice open fire, games, and comfortable vintage furniture.

We live in Gonville. Like

Photo / Babiche Martens

Newtown in Wellington, or Grey Lynn in Auckland, it’s a historic working-class neighbourhood just out of the city. It would have been close enough to walk to the big factories in one direction and the city in the other. There are a few giant, late-19th century stately mansions in a Tudor-inspired style, and they’ve been filled in by Spanish bungalows from the 20s and art deco bungalows and state houses from the 30s and 40s. There are faded warehouses and wool stores that now house artists' studios, which sometimes makes me feel like I’m in New York in the

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cafe and vintage store, in the glorious Whanganui Chronicle building. It's the heart of the creative community in Whanganui. You usually end up in interesting conversations at the big shared table, and often find out what’s going on that weekend or evening. They don’t serve brunch, just cakes and croissants, and this gives the place a leisurely, common room feel. You can spend hours in there reading the papers, or looking through the op-shop.

We have great cycle and walkways connecting the city

From top: A cocktail from Maria Lane; the shared table at Article cafe and vintage store; Space Gallery. Top right: A warehouse in Gonville; Rangiora St has been steadily regenerating over the past few years.

and our biggest neighbourhoods, and New Zealand’s most famous playground, Kowhai Park. For a stroll, walk up Drews Ave to Pukenamu (Queens Park). At the top there are two libraries, you’ll see the progress on the Sarjeant Gallery redevelopment, and the best view of great civic buildings, like the modernist War Memorial Centre, the museum, and my favourite — the brutalist Ministry of Social Welfare building. Whanganui is a town of art galleries. Space Gallery is a

wonderful private gallery which has recently grown to take over a former wool storehouse, and you’ll find great local work there, as well as at A Gallery on Glasgow St. The Sarjeant has an excellent space on Taupo Quay while it awaits its return to the hill, and the new Brown and Co glass gallery is extraordinary. For live music, if there’s ever a

show you like on at the Royal Opera House I recommend making a trip for it — it’s an extraordinary space. Whanganui lives for its

Saturday River Traders Markets. There are all sorts of things there, but for me it’s all about the kai from independent food vendors. I cycle in on Saturday morning, buy some SourBros bread and a slice of pizza, and then retreat to Article. On Sundays Whanganui is still

pretty well closed. Luckily The Citadel is open on Sundays, and that alone makes it worth being here. It’s a cafe and restaurant on Rangiora St near the beach at Castlecliff. This part of town has been regenerating thanks to some great community efforts. Check out Ivan Vostinar’s sculpture workshop and succulent garden, an oversized ode to the plants of Castlecliff. Whanganui is special because

it’s a small but densely populated city from a golden age of urban planning, and those bones haven’t changed much since the 1920s — except now we have a thriving arts scene and a cultural underground.

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Welcome Home For over two decades, Viva has proudly captured and documented the very best of New Zealand fashion, photographed in some of our most beautiful locations.

3. FRENCH BAY, 2015

Top model Ashleigh Good returns home from a successful international modeling career, photographed in Titirangi, Auckland wearing a classic LBD by Beth Ellery, photographed by Guy Coombes.

4. THE WINTER GARDENS, 2019

UK-based model and author Naomi Shimada visited the colourful Winter Gardens in Auckland’s Domain, wearing a cobalt blue jumpsuit by Ruby, photographed by Lula Cucchiara. 5. PIHA, 2016

1. WELLINGTON, 2018

Photographer Rebecca Zephyr Thomas captures eccentric ‘Wellington’ style on model Faye Nielson inside the 1980 Michael Fowler Centre, wearing a jacket by Harman Grubisa and trousers by Penny Sage.

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Model Grace Hobson marked her return to modeling after a few years’ hiatus in this sprawling shoot by Guy Coombes celebrating the beauty of our black sand beaches. She wears a Penny Sage top and Karen Walker skirt and bag. 6. 2016: QUEENSTOWN

2. MATAKANA, 2017

Model Eva Downey cuts a dramatic figure in this velvet suit by Arielle Mermin and blouse by Paris Georgia, photographed by Guy Coombes.

A vibrant flower field in Matakana formed the backdrop to this shoot by Tom Gould with model Zippora Seven, wearing a blouse by Widdess and Gucci skirt.

The discerning home of New Zealand fashion, beauty, food, culture and design: Viva.co.nz

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