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FASHION FADS & FIXES APRIL 2014

ISSUE 10

CHEAPER TO DRIVE

THE COVER: Benjamin Bunny Model Ben Orsman from Kirsty Bunny Photograph by Ashley Church

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C O N TA C T U S Phone Email Website Facebook Twitter Post Deliveries ISSN

+64 4 385 1426 editor@capitalmag.co.nz www.capitalmag.co.nz facebook.com/CapitalMagazineWellington @CapitalMagWelly Box 9202, Marion Square, Wellington 6141 31–41 Pirie St, Mt Victoria, Wellington, 6011 2324-4836

Produced by Capital Publishing Ltd

MADE IN WELLINGTON

pril, truly autumn for Wellington, is a lovely clear month with plenty of sun and clear days and this year includes Easter and Anzac Day. This issue features Easter rabbits, thoughts aplenty and an Easter family cover. There’s also a closer look at fashion week, its spinoffs for locals plus the best trans-seasonal fashion and chats with three fashionistas. A trend that Wellington, indeed New Zealand has taken to with fervour is the tattoo. Over the next few months we will introduce locals who have inked-up. In food we introduce Unna Birch, our new talented food creator. From her base in Hutt Valley, Unna copes with bee keeping, breeding hens, fashion shoots, makeup and hairstyling, blogging about food and feeding her family. This month she has put together a simple Easter feast for families. Geophysicist and soldier Rick Henderson who is to play the bugle for Anzac ceremonies on 25 April has given us his tales of the city. Lawyer and hard cyclist Matt Harrop in a burst of enthusiasm writes from inside the pack about the thrills of cycling around the region. And although I know I do mention sales and subscriptions quite often, I would just like to mention the general delight and good cheer generated in our office by the subscription very recently received from a ninety year old fan. We salute your great taste and your confidence. Alison Franks Editor editor@capitalmag.co.nz

This publication uses vegetable based inks, and FSC® Certified papers produced from responsible sources, manufactured under ISO14001 Environmental Management Systems

The opinions expressed in this magazine do not necessarily reflect those of the publisher. Although all material is checked for accuracy, no liability is assumed by the publisher for any losses due to the use of material in this magazine. Copyright ©. All rights reserved. No part of this publication may be reproduced, stored or transmitted in any form without the prior written permission of Capital Publishing Ltd.

FA S H I O N F I X The fashion splurge. Textiles, designers and a look at how the retail industry is faring. 26

CHEAPER BY CAR

THE OPPORTUNIST

Is our love affair with the bus over?

Chris Parkin talks, and not just about money.

LETTERS

EASTY FEASTY

CHATTER

CHEERS

NEWS

BY THE BOOK

BY THE NUMBERS

UBER COOL PUBLISHER

NEW PRODUCTS

HOME

TALES OF THE CITY

SPORTS

WHAT THE FLOCK

WELLY ANGEL

CULTURE

CARS

FIND THE LIGHT

BABY, BABY

EDIBLES

DIRECTORY

FROM BEAN TO BAR

CALENDAR

CONTRIBUTORS

S TA F F Alison Franks

Managing editor alison@capitalmag.co.nz

Haleigh Trower Lyndsey Oâ&#x20AC;&#x2122;Reilly

Campaign Coordinators sales@capitalmag.co.nz

John Bristed

General Factotum john@capitalmag.co.nz

Shalee Fitzsimmons

Art direction and design shalee@capitalmag.co.nz

Jeremiah Boniface

Design

Craig Beardsworth

Factotum

Gus Bristed

Distribution

UNNA BURCH Fo o d g ur u Unna aka Forrest Cantina is a mum of two, wife of one. She lives on the outskirts of a little suburban forest where she keeps bees, chickens and grows her own organic vegetables. Unna is a self-taught home cook and loves all things edible. www.theforestcantina.com

DANIEL ROSE Ph oto g r apher Daniel moved to the capital last year largely for the coffee. He has won several national photography awards for his portrait work and prides himself on producing well-crafted photography. He has also taught photography at Unitec and NMIT.

STOCKISTS Pick up your Capital in New World and Pakâ&#x20AC;&#x2122;nSave supermarkets, Moore Wilson, Unity Books, Magnetix, City Cards & Mags, Take Note and other discerning greater Wellington outlets. Ask for Capital magazine by name. Distribution: john@capitalmag.co.nz.

SUBMISSIONS We welcome freelance art, photo and story submissions. However we cannot reply personally to unsuccessful pitches.

D E I R D R E TA R R A N T Wel ly Angel Deirdre Tarrant, mother of three boys, founder of the former Footnote Dance Company and teacher of dance to generations of Wellingtonians will sort out your troubles as our Agony Aunt.

NICOLA YOUNG O pi n i on c olum n i st Nicola Young is a first term Wellington City councillor. She has worked in public relations in the London financial markets and in Wellington in her own political strategy and communications consultancy.

LETTERS

CAMP MOTHER

FO OD FAMILY

How much we enjoyed the tale of fishing bonfires and camping in My Best self, (February issue). Our family camping trips were near to Riversdale, many years ago. All our children are now grown and some of our grandchildren still camp at the same place. I enjoyed remembering the fishing, bonfires, tents and icecreams. S Burton, Wellington

I was very interested to read of the Chait family bakery now called Zaida (Like grandfather like son, Feb issue) I remember when the Dixon Street Delicatessen, owned by the Chaits, was the last word in sophisticated European food. And I was interested in the peanut butter couple, very brave of them. Your food stories keep me up to date with change in the city. I enjoy them . S Wilson, Porirua

A FAMILY CAMP

LAUGH FEST Thank you for making me laugh. I like Capital, for its photography and content. Your headline Paper, Rock, Sisyphus on the column by Paddy Lewis in the latest issue particularly made me smile. A L Jones, Wellington

My Best Self (February) A lovely article thank you. It immediately brought our family (of 4) ranging from oldest girl 61 and youngest boy 53 to the photograph albums. Our first camping was the East Coast from Auckland and we also fished at Te Kaha with two rods the oldest two girls had first turns. It being understood that whoever got a fish on was responsible for taking it off the hook. After five minutes or so the daughter said to her brother she is getting tired of holding it so brother took over and immediately said “there is a fish on!” The wiles of women come early. We camped on the estuary adjacent to Omaio. One son asked could he build a bonfire (we were on the beach) and after 20 minutes we went to find him beside an enormous pile of driftwood he lit it after we had dug in some potatoes which were eaten when the fire had died. Up in the morning to the Omaio general store for provisions and ice creams and then downed the tent into the car off to our next campsite. Wonderful memories thank you. Speight family, Wellington

OBVIOUS INCREASE A very, very big thanks for the exposure/very kind words and photos published in the February issue of Capital Magazine An article such as this has a noticeable and immediate effect. We’ve had a lot of new people visit us wanting to see what it is we do. Mike Hay, Poquito (abridged)

Letters to editor@capitalmag.co.nz with subject line Letters to Ed, or scan our QR code to email the editor directly.

ORARI apartments

Stay in the Heart of Christchurch www.orari.co.nz phone: 03 365 6569

C HAT T E R

INK INC.

E LV E N MADE If Blake Dunlop and Andrew J. Steel can’t find what they want on the current market, they make it. Elver, their leather goods brand launched last year, is a collaboration between the two visual artists. They wanted to create something versatile, that “transcended the boundaries of work and play, the day mission, wedding attire, the job interview, with emphasis placed on robust design,” says Dunlop. The unlikely inspiration behind the brand name is the eel. “Often considered the ugly duckling of the fish community, we find the native eel’s journey through salt and fresh water, across land, and up waterfalls, remarkable. We celebrate this through leather footwear and backpacks to help you on your own daily journey,” Dunlop says.

TONI COX Wellington’s been inking about tattoos. Is the trend deeply etched into the city’s cultural canvas or will it fade? Toni Cox talks about colouring up. What led you to getting a tattoo? Art or rebellion? Art I guess. I’d wanted one for a long time but had trouble settling on a design. I thought it would leave me with a cool souvenir to remember my time in London by.

TREES OVER TOMES Treehuggers have infiltrated the Yellow Pages. For the first time, you can opt out of receiving the 2015 Yellow and White Pages phone books. In an “increasingly digital age” people seemed comfortable accessing information online, Communications Minister Amy Adams said. “There are environmental benefits too,” she said. Can we call them the Green Pages now?

Why did you choose the design? I wanted something girly with feathers & flowers and was happy for my artist to freehand it. Why on your arm? I like having the option to cover it with 3/4 length sleeves.

C HAT T E R

WELLY WORDS

HOTB OX Strange letterboxes can be no surprise to our postpeople. An interesting DOChut-shaped affair appeared in Mt Cook after NZPost deemed an earlier one unsatisfactory. The chimney is obviously there to warn unwanted mail deliverers of what awaits their leaflets.

BAGGING A BARGAIN How many dollar shops does one suburb need? Interestingly the citizens of Newtown have successfully contained the number of liquor outlets in their suburb, but are seemingly losing the war against dollar and bargain shops.

TOP TIP Wackiest tip-jar in town award goes to Midnight Espresso – cats and lasers are a winning combo.

GET YO U R G R E E N S Georgina Langdale is on a self-described mission to “give back to the earth” that raised her. She has launched a “handcrafted natural beauty” brand, Archeus. Every sale contributes towards The Archeus Conservation Fund, Langdale’s project to reinstate the Raukawa tree. “I wanted to set up a business that treads lightly on the earth, with the idea that nature provides and Archeus gives back.” She also sells Matcha tea, a green tea used in Japanese and Monk ceremonies, “because beauty comes from the inside,” she says. The Archeus Stall will be at the City Market every Sunday until Easter, and then the 1st and 3rd Sunday of each month.

D E S T I N AT I O N O TA K I Kiwis go for the discounts. Foreigners go for the kites. Otaki has come second in the Lonely Planet’s top 10 destinations in the Asia region to visit. Paro, Bhutan, home of the Drukpa Buddhism festival, was the only destination more highly ranked, while Otaki and its recent kite festival came ahead of the peach blossom festival in Beijing’s Pinggu district. Ian Carson, chairman of the Otaki Village Promotions Group, thought the ranking was “not bad”. “We did notice quite a few people that did seem to be international visitors in Otaki,” Carson said.

HERE ERE COMES THE SUN Flash Jewellery’s new collection is replacing Wellington’s underperforming sun with its new collection RUSH. The collection is inspired by “dripping gold, foil texture and minerals,” says designer Nina Gordon. The 10 piece collection is made from sterling silver, semiprecious gems and heavy gold plate.

NEWS SHORTS

A BUSTLING CITY

SPELLING IT OUT Wellingtonian Samantha Lewis won the Preis für Gestaltung’ (prize for design) for her typography project ‘foanetiks’ at European art show Talente 2014. Lewis was the first New Zealander to receive a Talente prize. Eight other emerging New Zealand artists were selected to showcase their work as part of the annual International Trade Fair for the Skilled Trades held at Gallery Handwerk in Munich. Samantha designed a typographic system aimed at assisting adult literacy learners through phonetic spelling. “Samantha Lewis’s project ‘foanetiks’ presents a new way concerning language. [It] opens innovative ways of getting to know their own language or to learn a foreign language,” the judges said. “I feel extremely honoured (and surprised!) to be awarded with one of the Talente prizes, in particular for typography, as there is a big emphasis on jewellery at the exhibition,” Lewis said. Other locals Peter Deckers and Shelley Norton were part of the 66 selected to showcase at Schmuck, the oldest exhibition of contemporary jewellery in the world, from the more than 550 applications from 43 countries. It is New Zealand’s largest ever presence at the leading international trade fair for contemporary jewellery, applied arts, design and technology.

A Bus Rapid Transit system has been deemed the future of Wellington’s public transport by the Regional Transport Committee. It will be designed and implemented over the next eight years. The renovation will include improved interchanges at Wellington Station, Wellington Hospital and Kilbirnie and more bus lanes and traffic signals giving buses right of way. Improvements to highways and walking and cycling facilities are also planned as part of a quicker and more reliable public transport system. “We’re making the best choice for Wellington for now and keeping options open for the longer-term,” says Mayor of Wellington Celia WadeBrown, who was part of the Wellington Public Transport Spine Options Hearing Subcommittee. “BRT gives us a fabulous opportunity to access the exciting sustainable technology being developed including a range of electric and hybrid engines,” says Fran Wilde, Chair of the Regional Transport Committee. These high capacity, low emission BRT vehicles are planned for the future.

S ENCETW IO S NS H HOE R A TDSE R

IF THE PRICE IS RIGHT

BRIEFS

GOLDEN OLDIES

Wellington has claimed kinetic sculpture as its own for a while now. The wind is muse to the artists who dream up sculptures but also metes out plenty of punishment. Phil Price’s Zephyrometer on the corner of Cobham Drive and Evan’s Bay Parade has been dismantled for maintenance and it looks like the strain of the wind has caused some structural damage to the orange needle’s base. Looking further along the road Leon Van Den Eijkel’s Urban forest often has one of its three cylinders stuck and Phil Dadson’s Akau Tangi is rarely spinning in full harmony (they’re designed to hum). Saltwater and wind are a mean team it would seem.

Wellington is not just a student city after all. A record number of Wellington businesses are now offering discounts to SuperGold card holders, according to Senior Citizens Minister Jo Goodhew. “The number of participating business has more than quadrupled in the last two years to more than 11,000 across New Zealand,” he says. Perhaps getting old isn’t so bad after all. A Tui advert if ever I wrote one.

DEPOT DEMOLITION After five years of discussion, the Kilbirnie bus depot will be rebuilt as a modern, purpose-built facility after nearly 100 years of housing Wellington’s buses. NZ Bus operations manager Rachel Drew expects the barns to be taken down over the next two years. “It’s not the most fitfor-purpose building,” she said. The bus depot, which was built in 1916 as an overnight tram depot, struggles to accommodate GO Wellington’s 240 buses.

BRID GE OVER TROUBLED QUARTERS Decisions on the Basin Bridge proposal have been delayed for three months. Environment Minister Amy Adams said it is disappointing the Board of Inquiry is not able to meet the original time frame. “Based on previous proposals decided by a Board of Inquiry, an extension of this length is an exception rather than the norm,” she said. The final decision on the Basin Bridge proposal is now due on 30 August.

BY THE NUMBERS

172

amount in $$ to register your dog in Wellington city ($257 if you pay late)

amount in $$ to register if you obtain Responsible Dog Owner status (no gold statuette sadly)

10,126

number of dogs registered in Wellington

141

aggressive dog complaints received (between Oct 2012 and Oct 2013)

animal control officers patrolling the city

S M E L L YA L AT E R

litres in millions of sewerage treated per year

1.8

length in kms of the pipe that discharges treated effluent into the Cook strait (anyone for crayfish?)

580

THIS M O RTA L C O I L

years since funeral directors Broadbent and May opened

9000

average cost in $ of a funeral in New Zealand (according to a Fair Go report in 2012)

2896

cost in $$ of a natural burial plot at Makara cemetery (includes planting of a tree on the plot)

93.7

% of Broadbent and May families opt for natural coffins

number of sewerage treatment plants serving Wellington (Moa Point, Karori and a sludge treatment plant at the southern landfill)

IMAGE IS EVERY THING

1895

the year of the earliest moving image in the Film Archive collection

160,000

number of items in the collection (including home movies, TV shows, film, video games, music videos, commercials, posters, ephemera)

33,891

visitors to the Wellington branch last year

20 +

movie screenings per month all of which are either under $10 or free (yes, you heard correctly â&#x20AC;&#x201C; get down there now and get some Kiwi kul-cha)

replacement cost in millions of the sewerage network

WA L K T H I S WA Y

18,000

number of people who regularly walk or jog to work in Wellington (sadly there were no stats on how many sashay to work)

17.3

% of city who walk (national average is 5.3%)

number of calories burnt for every 15 minutes walking

number of months before you should replace your walking shoes

STRIKE UP THE BAND

years since Orchestra Wellington first played a note (the oldest city orchestra in the country)

core players

appearances this year either in the orchestra pit or on stage plus regional tours

cost in $$ to attend concerts in their subscription series â&#x20AC;&#x201C; tickets rise to $55 if you book after May

Compiled by Craig Beardsworth

15 www.emersons.co.nz

creative 6398

HOW MUCH IS T HAT D O G G I E

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TA L E S O F T H E C I T Y

SOMBRE SOUNDS

AC T I V E Surfing

FAV E F O O D Pizza & beer

M U SIC

NZSO in concert

T R AV E L Antarctica

WEEKEND Brewing beer

RICK HENDERSON is ready and set to play on ANZAC day.

ick Henderson has been playing a trumpet since the age of eight and stepping up to play The Last Post and Reveille on ANZAC day holds no fears for him. A geophysicist for Todd Energy’s exploration team, in the oil and gas sector, his day job involves interpreting technical data to supplement Todd’s oil and gas exploration portfolio. He has an MSc in Geology from Victoria University and is also a qualified soldier in the New Zealand Army employed as a rifleman in Wellington Company, 5/7 Battalion, RNZIR. “While playing on Anzac day is a sombre experience, it feels good to be able to contribute to the remembrance of our fallen soldiers,” Henderson said. Each year the numbers at the dawn service grow. “Families are using the day to remember their loved ones who served in the armed forces, whether it was in either of the world wars or Korea, Malaya, Borneo, or Vietnam. “It shows the appreciation that NZ families have for the sacrifices made,” Henderson said. “Perhaps the best thing about playing on ANZAC day isn’t the job itself, but seeing how many people care.” The Last Post was traditionally used to signal the very end of the day at a garrison - you can see how this found its way into the funerals of fallen soldiers and later into commemorative services such as the dawn service. Reveille is the bugle call played at the start of each day in an army camp, and it symbolically rouses those gathered from their remembrance and tells them that they are free to go on their way. Henderson began working life as a seismologist with a land seismic crew in Oman. “I generally worked on six-

week rotations (“hitches”) with three weeks leave earned after each hitch. “I was always interested in earth science and really enjoyed the first two years of undergrad study in geology at Vic because it involved lots of outdoor work and I’ve always been interested in the earth (except when digging shellscrapes). The third year Exploration Geophysics course had the added bonus of using explosives for a seismic source surely there can’t be a cooler course than that?” Other research work included a couple of months in Antarctica acquiring seismic data for the ANDRILL project. “It important work and an absolute blast for those of us sent there to do it.” “I was in the right place at the right time, nearing the end of my MSc thesis when another geophysicist asked; “You don’t want to go to Oman do you?”... Of course I did and two weeks later I was headed to Muscat with instructions on how to collect my visa on the way in through Seeb airport. NB I finished my MSc thesis when I came back on leave after my first hitch over there. “I originally wanted to learn to play the sax but was advised to learn breath control on a brass instrument first. I stuck with the trumpet and afterwards joined the Army as a bandsman. Brass instruments are my thing. I really like listening to jazz music and NZSO concerts. “Otherwise I am probably at Lyall or Houghton Bay if there’s good surf or playing touch, or at work or brewing beer. One Red Dog is a favourite with good pizza and Tuatara Beer on-tap.”

Photograph by Jeremiah Boniface 19

OPINION

CHEAPER BY CAR BY NICOLA YOUNG

ellington’s buses have been part of our city’s DNA for decades; we can be spotted abroad when calling out “Thank you, driver!” – it’s a distinctive and endearing Wellington custom. But Wellingtonians aren’t quite so keen on buses these days. Although Wellington City’s bus service still accounts for over half the region’s public transport, pricey bus fares (set by the Greater Wellington Regional Council) are hurting peak hour patronage. Public transport needs to be efficient and cheap, especially if its primary aim is to get people out of cars, and help decongest our roads. What’s being done to entice people back onto the buses? Nothing. It’s a vicious circle: passenger numbers decline; fares continue to increase; fewer people take the bus. It’s already often cheaper to drive [see Fact Box ], even for commuters paying for their own car park, and fares will rise again in October. Wellington City already has the highest bus fares in New Zealand. The singlezone bus fare (Wellington railway station to Courtenay Place, or to get to the local shops) is the most used, and one of the most important, especially for those who can’t afford a car. The proposed 25 percent increase (50 cents) for anyone without a pre-paid Snapper card will hit the most vulnerable: those who live day-byday, without the financial resources to fund a travel card in advance. The fare increases will also target our children, with the single zone child’s ticket going up 33 percent

to $2 a trip; that’s more than the current adult fare in Auckland! While bus users get a raw deal, train commuters benefit from special subsidies double those of buses, when only one third of the region commutes by rail. With a rail monthly ticket, it’s cheaper for a Waterloo resident to take the train into Wellington (15km), than for someone to bus in from Island Bay (5km) using Snapper. This is crazy and unfair. It’s hard to understand the regional council pouring huge sums (double the level of eight years ago)into trains, despite stagnant rail passenger numbers: special monthly fares make rail travel from Kapiti and Wairarapa up to 80 percent cheaper than driving and, in recent years, the Regional Council has spent hundreds of millions to buy railway stations from KiwiRail, new trains, new track, upgraded platforms, and extend railway stations’ free ‘park and ride’ facilities. What’s being done for bus passengers? Not much. The cost-effective bus system used by most locals is being starved of funding by the regional council; with its budget capped, and services added only if something else is removed.There are plans for new rapid bus lanes and electric bendy buses (ideal for long, straight roads – not a feature of Wellington’s topography) but where’s the money for it? The Regional Council’s 30-year budget forecast doesn’t include any money for bus improvements, although it plans to spend millions more on rail including another $30m

OPINION

THE QUICK FACTS

ARE WE BEING OV E R- C HA RG E D ? Government policy states contract subsidies should cover half the cost, with the balance paid through fares. This means the average cost for a bus operator of $3.50 per passenger (the approximate figure for NZ Bus) would mean a subsidy of $1.75. In Wellington City, however, the subsidy is only$1.20 (30%), so passengers pay $2.30; they are effectively overcharged by 55cents. This means the Regional Council is underfunding our bus fares, and passengers are paying too much. And that’s the key reason why bus passenger numbers aren’t growing, bus travel has become too expensive.

for yet more trains – to ensure every rail commuter can have a seat. Wellington’s public transport has a history of vanity projects: the (unreliable) Real Time Information boards (RTI) installed at bus stops cost $15m; it would have been cheaper to develop a smart phone app (about $50,000) then give smart phones to the 50 percent of Wellingtonians who don’t already have one. Installation of the Snapper card didn’t cost Wellingtonians a cent, but now the GWRC wants an expensive stand-alone ticketing system (Auckland’s ‘ThalesHop’ card has, to date, cost almost $160m). Let’s focus on the art of the possible, by curbing the GWRC’s favouritism of trains and improving our bus service with some modest changes: raising the bus subsidies to the level set by Central Government and reducing fares accordingly, offering monthly passes, and discounted off-peak fares to fill those empty off-peak buses and, at the same time, help the disadvantaged and students who depend on public transport. Perhaps it’s time for the GWRC to admit it doesn’t care about our buses, and hand over responsibility for the Wellington City’s public transport to someone else? One thing is certain, Wellingtonians need to start fighting for better, cheaper bus services.

IT’S CHEAPER TO DRIVE IN WELLINGTON If you ask Wellingtonians why they are driving to work, you get answers like this: “Based on the current cost and if we paid cash, our fares would cost $20 per day ($100 a week, or $400 a month) for both us to travel by bus from our home in Strathmore to our offices in the CBD. It would be $30 cheaper if we used Snapper cards, instead of cash. “Instead, for the same journey, we drive our large car which costs $70 in petrol a month, plus $250 in parking (some people get that free). That’s $80 cheaper than the bus, and we’d save even more if we drove a smaller car, or a hybrid. Bus travel is also much slower; the buses stop regularly, and it takes another 15 minutes to walk each way to the bus stop. Catching the bus would add an extra hour each day to our commute; that’s 20 hours each a month or – between us – an entire working week. So driving to work is definitely worth it, and more so when the bus fares increase in October. Why would we take public transport?”

W HAT T H E F L O C K

MISS SADDLEBACK Name: North Island Saddleback. Māori name: Tieke or tiaki. Status: Endemic, recovering. Saddlebacks were widespread at the time of European contact but suffered hugely under the introduction of predators. Habitat: Saddlebacks are now predominantly restricted to island sanctuaries (close by at Kapiti Island) and a few fenced mainland sanctuaries including our own in Karori at Zealandia. Population estimates sit at around 7000 birds in total, though many offshore counts err on the conservative side, so it is assumed that the actual number is a fair bit higher (yay!). Look for them: Saddlebacks are around the same size as blackbirds, with striking black plumage, a bright red wattle, and a saddle across their back that is rufous (reddish brown) in colour with a thin gold band along one edge. A wattled bird that is monogomous and maintains a permanent territory; the saddleback is part of the small Callaeidae family, of which the only other members are the highly endangered Kokako and the now-extinct Huia. Call: A chattering and sometimes very noisy cheet-te-te-te-te-te. Feeds on: Invertebrates, fruits and nectar. Did you know? In recent years, saddlebacks have been spotted in parks and reserves outside of Zealandia, including at Polhill Reserve, George Denton Park, Waimapihi Reserve, Wrights Hill, Long Gully Station, and one sighting at Te Kopahau Reserve, where the only predator controls currently in place are for goats! Myfanwy Emeny, team leader for Urban Ecology at Wellington City Council, says saddlebacks have actually nested in Polhill Gully, but they’re unsure if the nest fledged any chicks. “Saddlebacks are particularly vulnerable to predators because they can nest on the ground and in [tree trunk] cavities... and if a predator gets into the cavity there’s no escape, so the parent watching the nest is often done for too,” she says. Wellington City Council’s Draft Annual Plan 2014/15 includes $137,160 worth of funding over three years to support Project Halo, which aims to transform more backyards into safe havens for native wildlife like saddleback. If it were human, it would be: Imagine three impossibly beautiful and talented young sisters - the Huia is the eldest; the bright star who was full of potential but taken from the world too early. The Kokako is the exquisite but introverted youngest - the one with the ethereal grace and hauntingly beautiful voice (the kokako call is well worth a Google). The Saddleback is the sibling most overlooked. Not quite as beautiful as her sisters, but friendly and curious and grounded - the one recalled in the warmest tones by friends-turned-old ladies, looking back over their lives. 22

CULTURE

R O YA L B L U E Artist Nick Cuthell’s portrait of the Queen will be unveiled on 10 April by the Duke of Cambridge. The Queen granted Cuthell an exclusive sitting after a long process of preparations between artist, the palace and the Portrait Gallery. She asked Cuthell if he would like her in full royal regalia, but he asked to paint her in a blue day dress with her New Zealand silver fern brooch. When she asked where in Wellington the New Zealand Portrait Gallery was located, Cuthell says he could only think to describe it as an old shed on Wellington waterfront. The portrait will be transferred to the New Zealand Portrait Gallery the day after its unveiling. An anonymous group of young New Zealanders donated to the New Zealand Portrait Gallery in order to make the commission possible.

SOMETHING A-C O OKING

A WOLFISH TUNE

Tuaine-Nurse Tamarua Robati is the Pacific Dance Artist in Residence 2014. The residency, hosted in Porirua, runs from 26 April to late June. Robati wants to get high schools students in Porirua more excited about their Cook Islands culture through Pacific dance. Porirua students seem to take less pride in their Pacific culture compared to others, Robati says. Robati was awarded the Officer of New Zealand Order of Merit in 2013 for his services to Education and Pacific Communities.

What is werewolf music? “A sonic amalgamation of human and wolf, the spirit of science,” Dylan Herkes explains, “it’s genre defying wildness. He is the man behind the national tour of Stink Magnetic’s compilation Wolf Party, released by Swiss label Voodoo Rhythm Records. While Herkes says there’s not a huge scene, “he’s a lone wolf”. Originally from Pahiatua, Herkes played shows in Wellington for about five years from 2003 as the Mysterious Tapeman before touring Australia and Europe. Mighty Mighty 19 April.

JA M E S M A CM I L L A N c ond uc t or J O N AT HA N L E M A LU b a r it one

Fri 9 May WELLINGTON

NEW ZEALAND SYMPHONY ORCHESTRA presents

HEAR & FAR CRESSWELL The Clock Stops (new commission) MACMILLAN Woman of the Apocalypse MACMILLAN The Confession of Isobel Gowdie

CULTURE

C U LT U R E O N C O U R T E N AY Johnson Witehira’s new exhibition will inject Wellington with visual representations of almost 30 generations of Pacific and Maori culture. Land of Tara shows light boxes of early Maori navigators, who progress from early ancestors who, in Witehira’s words, “look very Polynesian”, to later generations who “look more Maori”. Witehira’s goal is to bring Maori visual culture back into the lives of Maori. “If the cityscape is completely Pakeha, it’s difficult to preserve a Maori culture presence,” he says. Witehira gained international recognition in 2012 when he was selected for the Chorus Digital Art Contest and exhibited in New York’s Times Square. Land of Tara, from 10 April, Courtenay Place Park.

CLASSIC WELLINGTON Wellington’s Embassy theatre will screen five classic films as part of the NZIFF this Autumn. Films from directors Werner Herzog, Germany, Stanley Donen, USA, Elia Kazan, USA, Carol Reed, UK and Miyazaki Hayao, Japan will screen across three weekends from 12 April to 27 April.

WE’LL LET YOU KNOW Maddie Leach’s work If you find the good oil let us know 2012-2013 is a finalist for the 2014 Walters Prize. The Wellington artist and Massey University lecturer of fine arts is the only non-Auckland resident to be shortlisted. The winner, to be announced in September, receives the $50,000 prize and a trip to New York with the opportunity to exhibit at Saatchi & Saatchi’s world headquarters.

CULTURE

WHAT ’S THE STORY? World of WearableArt welcomes two new additions this year: general manager Tim Launder and the STQRY application, WOW’s new digital storyteller. STQRY (pronounced story), named after the Wellington tech innovator, expands upon written information at WOW exhibitions. It connects the audience to exhibitions by providing information, videos and interviews that a traditional museum plaque couldn’t. And if you don’t understand English, in which case you wouldn’t be reading this anyway, the app can be used in more than 60 languages. Tim Launder also joins WOW this year, leaving his position as WETA Limited general manager to start at WOW’s Nelson headquarters in May. “This new role with WOW is an exciting opportunity to work with another group of talented, creative people”, he says.

DA N C E DAY YouthDance Education Trust will put on a day of dance performances and professional workshops to celebrate International Dance Day (above). The Trust won the Wellington Airport Regional Community Award for Arts & Culture last year. This year’s event is held at Te Papa, 4 May. The charitable trust was set up in 2000 to support young dancers and those who work with them.

A CALL TO ARMS History, dance and drama merge to commemorate the 100th anniversary of World War 1. The Armed Man is a dance developed by the Crows Feet Dance Collective and set to a Karl Jenkins score The Armed Man. It brings a New Zealand perspective to WWI via the personal family histories of the dancers. “We wanted to reflect on what has happened to women and children because of the war. The fallout goes on for generations and generations,” said director of Crows Feet Jan Bolwell. 5 – 6 April, Genesis Energy Theatre, Expressions 12 - 13 April, Otaki Civic Theatre

F E AT U R E

T H E FA SH IO N F I X WRITTEN BY KATIE BYRNE | PHOTOGRAPH BY SARAH BURTON

Selfies and fashion are not new. Even in Victorian era Britain, grieving families would dress up their dead for a photo - eyes open, hands clasped solemnly together and dressed in Sunday finery. How they looked mattered. Children would be dressed in angelic white and often wreathed in flowers. Before they died, people would often pick out what they wanted to wear. Even in death the Victorians recognized the importance of the lasting memory.

WFW is a private/public model and is funded by ticket sales and support from sponsors including Lexus, Resene and the council. According to Sneddon, the funds are allocated by a team from council and the directors of WFW based on the total footfall across the whole event, including assessing any increase in visitor numbers to the city. Positively Wellington Tourism attributes a 10% increase in accommodation in the city during the month to the number of guests attending WFW in April. PWT chief David Perks describes Wellington as “a surefire fashion destination. “WFW is growing, WOW is established and both are bringing a new crowd to Wellington and exposing them to our diverse culture. The stand-out attribute for fashion seekers here is that it is still very High Street driven and one store to the next will offer something completely different and unique. We have so much variety.” A Wellington City Council report notes that the 2013 WOW alone returned a benefit estimated at $22.6M to the Wellington economy. Warrick Dent, manager of city events at council, is enthusiastic about fashion week. “The fashion community has a lot to offer Wellington. WFW adds an important thread to the event calendar. It will take some time before it reaches global recognition. The future will be evaluated with the council in the near future.

erhaps because of the modern jungle of social media, throw-away fashion, camera phones and selfies, the way we look is ever more important. Fashion is also a pivotal and intricate cog in the economy, churning away season after season; bound by the threads of evolving technology and our inherent desire to showcase ourselves. The folks who organise Wellington Fashion Week (WFW) 9–13 April, are hoping around 10,000 fashionistas will descend on Wellington snapping their every step and uploading their part of the story to Instagram, Twitter, Facebook and more. Webstagram reports that internationally the most common fashion related hashtags are #fashion 89m photos), #style (75m) and #look (51m)). Wellington is celebrating the third year of WFW, and looking forward to rapidly increasing interest from attendees whose numbers have doubled after each of the past two events. With its ‘current season’ focus WFW supports the retailer, unlike most other fashion weeks where the media and buyers eye up the next season’s stock or styles, not pieces currently in store. Why? “Supporting the NZ industry in the retail sector is exceedingly important to the industry and economy,” says Managing Director, Cameron Sneddon.

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ber of challenges.“There is a consensus among wholesalDent confirmed there is a plan to measure the ers that Wellington is fickle and maybe even cliquey and growth and sustainability of the event. “We have one of the hardest cities to get your product into. This invested in a three year agreement with the event to see could be because there are certain trends that seem to growth of the event over this time.” take hold of Wellington with a stronger grip, or it could WCC would not reveal how much it invests in supbe the fact that buyers are reluctant to ‘risk’ change.” port of fashion events confirming only they are funding British jewellery designer Sadie Hawker who has partners of WOW and WFW. developed her brand Shh by Sadie from her home in Leading supporters include Massey University, Oriental Bay said “One of the negatives is geographic whose alumnus reads like a fashion magazine, with location - it just costs so much to get things here and to names including Kate Sylvester, Collette Dinnigan, Resend them away. When ordering jewellery-making supbecca Taylor, Andrea Moore and Kathryn Wilson. plies, sometimes shipping costs more The university supports stuthan the items themselves. This is obvidents with internship placements FASHION IN ously a big downside for homegrown and more, but notes that there are WELLINGTON fashion industries competing with the still many challenges for fashion rest of the world.” graduates. Challenges: Manufacturing, locaEstablished designer Andrea Moore, Senior Lecturer Jen Whitty tion, High Street vs Designer, Supwho opened her first store in 1999, says:“The fashion industry faces port networks, lack of suppliers and now has five stores nationwide, the global issue of fast fashion. believes every market is challenging, not New Zealand is small and fashPositives: Community spirit and just Wellington. “The market is tough ion has a more global window. networking opportunities, great anywhere, especially with our limited Grads may be attracted to talent from universities, increasing population. Our Wellington store is larger overseas markets but with awareness of NZ Fashion, increase still our top performing store, so I see increasing digital connections in niche fashion events, reputation as Wellingtonians as easy to cater for. For in future they may not need to ‘Capital of Cool’. wholesale – that’s tough throughout the leave here to find work.” country.” However, the majority of As an aside, Moore says “Wellington does have a production is offshore and reduced manufacturing general trend towards black, but we have been fighting limits training opportunities in all other industry areas that. Every year for 14 years: we fight the good fight. such as machinists and pattern makers she said. Our customers demand and depend on something new As always, designers are weighing up the pros and every season. We would not be in the marketplace if we cons of establishing their business in Wellington. did the same every season.” Family and community spirit are the overwhelming With challenges on their own stomping ground, bonus while location and attitudes to the market are many designers are looking for ways to creatively exploit listed among the challenges. Masterton-based designer Dani Burkhart of My Boy- the positives within the market, both Shh by Sadie and My Boyfriend’s Back agree that the networking opportufriend’s Back has been growing her business from the nities and community spirit within Wellington is unique Wairarapa for the past five years and although growth and has helped promote their brands. Sadie said: “I don’t has been steady the designer says she still faces a num-

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They range from apprenticeships and emphasis on think I’d have had easy access to this fantastic talent and training to wider support. influence if I’d been living in a lot of other countries, inSmall fashion boutique Design Cartel closed its cluding my home, Wales. It really helped and supported doors in February. Owner and designer, Abigail Moir me and still does.” said, “As a designer and former retailer, the cost of Dani added: “The fashion industry here highlights manufacturing locally hits heavily and the competition the attributes of a creative city. People you network with from chains who can charge such low prices versus the are also passionate and chasing their dream. There is costs of NZ made certainly has an impact.” such personal satisfaction that comes mixing with likeThe growth of social media and e-markets has minded people. I have enjoyed becoming good friends allowed brands to amplify their ‘New Zealand Made’ with a bunch of extremely talented innovators.” tag. Many are exploring sellHowever, after spending several ing tools like The Marketplace years in Wellington, opportunities FACT FILE on global etail site ASOS. The in Auckland and overseas can be a Marketplace allows the brand to big lure for designers. WFW growth (based on ticket manage their sales and marketAndrea Moore and Twentysevsales): Year 1: 2500, Year 2: 6000 ing across the UK, America and ennames have looked north with and projected growth for Year 3: more. success. Childrenswear designer 10000 - 12000 The way The Design Loft Mavis and Osborn is moving to and some others share work Auckland after three years in WelMassey Facts: Fashion prospaces, filled by photographers, lington. Designer Tamzin Hawkins gramme over past decade (based designers, illustrators, is also an said the main aim is to grow her on demand) has increased by 50%, increasingly popular alternative brand. “I want to step outside the up to 80 students will enrol on to renting one space. capital and move in a different difashion courses next year, with 300 Designer Dani Burkhart, rection. Wellington offers so many fashion students across the four believes the future of fashion opportunities and everyone knows in Wellington is linked with everyone, which functions as a year degree. the community spirit, already great support network. However, referenced by designers. “The Auckland is a huge market and it industry has been seeking innovations. Popup stores, will be great to be part of that.” flagships, collaborations and social media presence Andrea Moore says she moved to Auckland for have increased largely. Cheap online retailers are family reasons with the added bonus of manufacturing challenging the true shopping experience Wellington being around the corner. She believes her success stems from treating her brand as a national label. “To be a suc- offers. “We will begin to see many more collaborations cessful label you need to be a national label. Each label has a niche – you work that niche and then you broaden between local designers and other creatives; combining your categories. Wellington designers need to get on the their skills, to create strong aesthetics and a lasting impression. I think unique, intimate events will continue plane, there is just extra travel involved.” to grow in Wellington, weighting our presence as a Established industry insiders mention a number of creative city.” things to grow the industry and develop new talent.

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F I N D T H E L IG H T Autumn is about dreamy soft colours and even softer textures. Itâ&#x20AC;&#x2122;s about finding that patch of sunlight indoors and snuggling up to drink endless cups of tea.

Stylestalker Limitless Cardi, Lonely Hearts Lulu body suit. Photographer: Sarah Burton Hair: Bex Brent @ Willis York Styling: Jodi Pullar Model: Natarsha Orsman @ Kirsty Bunny Location: Havana Coffee Works

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Lonely Hearts Relax fit pant, Bassike Raglan Jersey T, Doc Martins

27 Names Tokyo Frill Tee, 27 Names Gala Mini, Vanishing Elephant socks, Doc Martins

Camilla and Marc Se Soir cardigan (worn around waist), Camilla and Marc St German pant, 27 Names Pearl Frill Tee, Birkenstock sandals. 33

fashion shoot Wilson Trollope Madison Coat, Birkenstock sandals, bunny ears stylists own Store credits: The Service Depot, 27 Names, Superette, Area 51, Wilson Trollope, The Last Shoemaker.

YOUNG AND GIFTED, BUT NOT BROKE “Simple but well made is always the best,” says Blair Rooney, the 17 year old designer behind women’s fashion label B A Rooney Clothing. “I get my ideas from my personal style - I am a very simple dresser.” The designer was always fascinated with textiles. “I remember sitting on my nana’s knee sewing a teddy bear. That was the start for me,” Rooney remembers. His process begins with the fabric rather than the market. “I start with picking fabrics so I think that’s what inspires me to design. Trying to hit the target market every collection is a bit tricky, but if you do the right research and reflect that in your designs then it shouldn’t be a problem,” he says. He calls Wellington “an inspiration in itself”. “So much interests me to draw, research, and design,” he said. “Wellingtonians dress to impress, keeping it simple but bold.” But there’s a difference between style and fashion, Rooney says. “Fashion is a product and style is the way you wear it. Fashion is important but style is equally important.” He finds Wellington’s style “refined”. And what of starting so young? “The industry can seem quite competitive and ‘cut-throat’,” Rooney admits. “However, when you work so closely with your peers you become almost best friends, bouncing ideas off each other. I started as a one man band but we have grown into a team, a family. I wouldn’t be here if it wasn’t for family, friends and my ‘competition’.” 35

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GOING WITH THE FLOW Jacque Shaw had no intention of starting a fashion label until she was up to her ears in fabric. Working at The Fabric Warehouse inspired her self-titled label. “It’s easy to dream when you work full time at fabric heaven,” she laughs. “I still work there so it’s tricky juggling both workloads – but totally worth it!” Materials from The Fabric Warehouse inspire her designs. “I am really influenced by fabric and colour. I mull over fabric at work for weeks until I know exactly what I want to do,” she says. “My aesthetic is ever growing and changing,” she muses. Shaw doesn’t design for a specific target market, but Wellington’s experimentalism helps. “I think that people in Wellington are more adventurous with what they wear because of Wellington ‘culture’ and art students but I don’t think I need to design differently for the Wellington buyers. At the moment I’m just doing what I’m doing and hoping people respond well to it,” she says. It’s all about identity, she says. “You can create persona or personalities through what you wear. People subconsciously react to the way you dress - it’s all very vain and judgmental, but that’s just how it is.” Shaw knew fashion was for her since she was at high school. “I did sewing class for fun. I always wanted to make weird stuff that didn’t fit the project but my teacher was really encouraging and it developed from there,” she remembers. Her earliest fashion memory is “really wanting those plastic heels you get in costume sets, but they were always too big for me and mum never let me wear them. She thought I’d break my ankle. I was also a huge Barbie fan and used to make little clothes out of fabric scraps with my Greek nanny, Angela. She would make elaborate mini wedding dresses and veils – they were so cool.” 36

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DEEPLY INTERWOVEN Liz Stringer is the heart and soul of Seatoun fashion boutique Harry’s. She’s the CEO, designer, muse and sample model (“that sounds rather fabulous,” she laughs) all rolled into one. “I’ve always known that fashion was for me, mostly just designing and buying dresses for myself. The first moment I decided to open a clothing store was when I moved to New Zealand from Hong Kong and saw that my wardrobe was full! Harry’s is an extension of my wardrobe,” she says. Stringer’s personal style is very much reflected in Harry’s designs. “I wear our silk tops most days,” Stringer says. She doesn’t design for a market, but finds that whatever works for her suits other people as well. “I have a very “real” figure so my style suits a variety of women,” she says. “I know it sounds strange but I use myself as my muse. We keep working at the garment until I feel great in it.” Defying Wellington’s black uniform, Harry’s love colour. “We encourage women to dress up just a little more than they usually would for the school pick up or the supermarket shop. Fashion is a way for us to show to the outside world what’s going on inside,” Stringer says. Liz’s earliest fashion memories are of her grandmother’s South Island garden. “She would let me wear her old red and white spotted dresses with large hoop earrings. I would run around as a gypsy girl, barefoot and carrying a trug picking roses,” she said. At age three, I fell into a pool of water and my dress was floating out around me. I must have been pulled out pretty quickly as it hasn’t left me with any fear of water - I just remember how pretty the dress looked.” 37

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A RELIGIOUS STORY There’s a nice history to rosaries, beginning with the earliest use of prayer beads among Hindu worshippers around the 3rd century BC. Christians carried around 150 pebbles in a little leather pouch. They touched them as they went through their ritual prayers. Then, instead of a relatively heavy bag of 150 pebbles, they put 150 knots – later beads on a rope or thread, used as the monks chanted their way through 150 psalms (or for those who couldn’t read, 150 repetitions in Latin of the Our Father prayer)…the Rosary. The word rosary is from ‘garland of roses’, as early rosary beads were made out of tightly rolled rose petals, while the word bead is derived from the Old English noun bede, meaning prayer. Childhood friends Mary O’Regan (above) and Jan Macdonald always loved the ceremonies of their Catholic upbringing. They can’t forget the sounds and smells of the weekly mass, and memories of their mothers and grandmothers fingering their rosary beads, Mary says. Travelling in Italy, the two agreed that a rosary from Rome would be a great idea as a gift for each of their mothers. They were dismayed at the poor choice available, so returned home began making their own, as RK Rosaries, with precious and semi-precious stones and beads, often from India and soukhs of the Middle East. “Rosaries, traditionally a symbol of religion and prayer, are for anyone who wants to find peace, the calm of contemplation, or simply to still their soul”, says Mary. Most are made for special occasions, christenings, or naming ceremonies, often spelling a child’s name, or a horoscope, and can be made from for example, religious or war medals, special beads, antique crosses, or old rosaries. In a recent example, old religious medals sourced from a goddaughter’s Norwegian, Irish, and Maori ancestors make up a piece telling a very personal story. www.rkrosaries.com Written by Sharon Greally | Photograph by Connie McDonald 39

FA S H I O N

M O N E Y TA L K S

TH E OPPORT UN I ST WRITTEN BY JOHN BRISTED

Chris Parkin – well known as the proprietor of the idiosyncratic Museum Hotel, donor of the Parkin drawing prize and formerly a long serving Wellington City councillor – talks about making money. Did you have any money growing up? I came to NZ when I was about three years old. I may have had pocket money but very little, I grew up in Otaki. There was always plenty of work for young people in the market gardens, on the farms, I mowed lawns and delivered newspapers like most kids did in those days. If you wanted a bike or anything like that, you had to earn the money because you weren’t going to get it any other way. What were you paid in those early days? I was paid two shillings an hour (that’s 20cents but it would have been worth much more than that then) and I remember it going up to 2/6 (two shillings and sixpence) an hour as an early teenager. A good adult working in the same place was getting 5/ an hour. I enjoyed working. When I got older I used to come to Wellington every holiday and get work on the building sites. I’d disappear the last day of school and go to Wellington where you’d have a job by the end of the day. I stayed at the YMCA in Willis St, it was cheap, maybe a pound a week and that included breakfast. I think we were earning around 15 pounds a week. What did you study at university? I’ve got a Master of Science with honours in geochemistry, but although I liked science in the sense of problem solving I never really took to science in the sense of work. It seemed to me there was a hell of a lot more excitement in commerce, rather than tramping round rivers looking at rocks. I did a thesis on how to grow emeralds, and I did manage to make some which were just big enough to see under a microscope. Sapphires and rubies are much easier to make, in fact the only fault free sapphires and rubies are synthetic. What did you do after university? Half way through my degree I took off and did a year in Australia, working in a car wash, general labourer all over the place, glass factories restoring furnaces, all sorts of jobs. It was the first time I understood that I didn’t want to be on the 41

bottom end of the labour market, and so getting back to university and learning to do something useful became a high priority. I enrolled to do a commerce degree in economics and statistics. I was pretty good at maths in those days. “While I was at still at university I started getting interested in property development.” How did you get into that? The vendors would leave some money in, so you’d have a first mortgage to a lawyer, a second to the vendor, and if you were very lucky you had an old man who was prepared to guarantee the balance to the bank, so you borrowed 100% of the cost of your building. Interest rates were running at about eight or nine per cent but inflation was about 20%. They were the golden years of property investment; you could buy a house and within three or four years it would double its price. I was quite handy and did a lot of painting and wallpapering and a bit of amateur carpentry, I’d buy houses, renovate them, and rent them out. When did you start making real money? After university I took a job on the finance side with Pilkington Glass who made windscreens for the car assembly businesses which still operated here then. After 18 months I got a job with the Government owned Development Finance Corporation and that’s where I learnt about finance and business, and what makes bad businesses. It was good vicarious experience dealing with somebody else’s money and problems. What did that lead to? In 1979 I convinced the DFC that they really needed was an office in San Francisco, to encourage American manufacturers to relocate here and export back to the United States. We had low taxation and incentives for exporting. That exposure to American business was very refreshing. They’re extraordinarily dynamic and look for the yes’s rather than the no’s in everything they do. That admiration for the American way of doing things has stuck with me ever since.

STREET STYLE

After four years I came back to the DFC full of ideas but nobody wanted to listen. With a friend from the BNZ foreign exchange department we set up an advisory service, Forex Consultants. For a very interesting 10 years we managed loans and foreign currency exposure. Was that well paid work? It was very successful at the outset because nobody was doing it. We charged a fee rather than commission so that nobody would feel we had an axe to grind. I was probably the worst foreign exchange advisor the world has ever seen, with foreign exchange you ought to be able to get it right at least 50% of the time if you just toss a coin. I don’t like operating in an environment where logic doesn’t really provide an answer, but I had kept on with property development, and with my forex partner, Tim Coney now Coney Wines, we got into industrial and commercial properties.We were partners for about fifteen years. It must have been successful? In the early nineties the property market fell apart and it was then that I got the opportunity with the hotel. I was at a party one night and met Perry Cameron (one of the first to swim Cook Strait) who ended up as the secretary for the Department of Internal Affairs. The site planned for Te Papa included this building which had been built as a hotel and gone into receivership soon after it opened. Internal Affairs operated it for a while very badly, then shut it down in a blaze of publicity at three o’clock in the morning getting the hotel guests out and sacking everybody. They did it at three in the morning because there weren’t too many employees on-site to get rid of. People did that in those days. I said to Perry I don’t know anything about running hotels, but I’ve stayed in a lot. I could run that and make money for both of us. I’ll put up all the working capital, you don’t have to do anything, and Internal Affairs will get 50 % of the profits. He went back to his board, and that’s how I got into the hotel business. All the rooms had furniture. We had to make the beds and stuff, and I had a manager (with whom I eventually ended up in court as to whether she was a half owner or not). I ran the hotel for three years until they wanted to demolish it to build Te Papa and then I organised moving it. That’s over twenty years ago. [The hotel was jacked up, put on trolleys and driven along a train track to its present site where it was known for a time as the Hotel de Wheels.] What were your parents’ attitudes to money? I think they liked to have it but found it pretty hard to get. My dad, as a 20 year old in World War 2 had gone to France 42

and been captured by the Germans within hours, and spent six years as a prisoner of war in Eastern Prussia. He missed out on an education. They needed to get out of England. There were three boats leaving: one to Canada, another to Australia, but the first one went to New Zealand. With my mother he came out as a farm labourer, eventually did some papers by correspondence and ended up as an accountant. Typical immigrants of that time, like the Dutch, they worked hard, and eventually made themselves comfortable. Were they cautious with money? My Mum was much more entrepreneurial than my father and ended up buying houses, renovating them and reselling them. So suddenly you had a hotel which was earning lots of money? I wouldn’t say it was earning lots of money but I was comfortable and over the years it’s done me pretty well. It’s taken a lot of hard work but we have been well rewarded for it. Motor cycles are obviously a hobby? I’ve always been keen on motorbikes. I liked anything mechanical. My first legitimate car was a 1947 Vauxhall J, straight six cylinder – for an English car they didn’t do badly. My first bike was a 1954 Norton Dominator – pretty hard riding. Maybe a bit like a Harley Davidson. Apart from that my main hobbies are eating and drinking and travelling. Art is one of your interests? I buy art because I like it, not because I know the artist. I’ve got average taste. A curatorial sort of person would think my collection ho hum. This is an ordinary bloke’s collection. It’s all in the eye of the beholder, and if you don’t get it why buy it? Everything you see is something I bought because I really liked it. What’s the most expensive painting you’ve bought?. There’s a Bill Hammond, I paid about $200,000. Do you make money out of it? I’ve never sold anything. Did your attitude to money change once you became a parent? No. From an early age I’d noted that money wasn’t everything, but life was pretty miserable without enough of it. Does money make you happy? Yes Do you have health insurance? Yes What single decision has had the biggest financial impact on your life? To not run away and become a jockey

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EDIBLES

WE TO O CANCAN

HUNGARY FOR BREAD Hungarian specialty bread vendor Tom’s Chimney Cakes & Langosh has secured a permanent location on the corner of Dixon Street and Taranaki Street. Originally from Hungary, Tom and his wife spent two years trying to find a place in the CBD. They are still at Wellington Night, Riverbank and Harbourside Markets over the weekend. The Chimney Cake is flame-cooked dough rolled in flavourings. Originally from Szekelyland, a Hungarian-populated area of Romania, Chimney cakes were traditionally made for celebrations, but “We think Sunday is a special enough day!” they laugh.

N OM N OM ‘NA M Vietnamese food is the new black (now that’s chromatics-defying), so no wonder Wellington loves it. A number of Vietnamese restaurants have sprung up around over the past few years making Capital wonder: is it the new vogue of Wellington cuisine? Perhaps the oldest Wellington Vietnamese restaurant is Fisherman’s Plate, but it is now part of a larger trend. Phong Vu, Taste of Saigon, Mekong café, NAM, Rockyard, Little Hanoi, Café 88, and Bánh Mi 88 followed. The most recent is The Lotus on Majoribanks Street. The owner and chef Chien Nguyen and wife Adele Bham opened the restaurant in December last year. The Lotus chef recommends Quang Style Noodle and Saigon Crispy Rice crepe, but if you ask us, you can’t go past a good bowl of pho. The caffeine-addicted capital can even get their coffee fix with a dose of condensed milk, Vietnam style.

French CanCan closed at the end of last year much to the disappointment of aficionados of the little café’s French cuisine. The charming Sophie Dubois and her partner Eric Hausser, a two star Michelin chef, are opening French CanCan again mid-April – this time in Willis St in the premises formerly occupied by Chill Café. The former Newtown premises are still in action as the main kitchen for the café, and their quiches are also on sale at Moore Wilson’s.

SOI AND DRAGONFLY Brent Wong and sister Tania Siladi’s restaurant and function centre has finished its restaurant days after eight years and become solely a function centre. “We wanted to make the change when we could make the change. We didn’t want to get to the stage when we had to close, and this gives us the time to focus on Dragonfly,” Wong said.

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T OA S T T O T H AT A toasted sandwich bar is reinventing the toasted sandwich. Glen and Anna Parker’s first business venture Toast It opened last year. “We wanted to reinvent the kiwi classic”, said Glen. “We all know the triangular toasted sandwich from our childhood. We wanted to move from that to something more specialised.”

YO U C A N ’ T BEET IT

PAVING THE WAY Simon Maguire has joined Wellington’s coffee scene with Pavement, a portable (but stationary) coffee shop on Tory Street. “I wanted something more upmarket than the caravan-style coffee shop – a high end coffee peddler,” Maguire says. He’s been in the coffee business for seven years, and knows it’s a “fiercely competitive” industry. Pavement is his guinea pig. “We’re just testing the waters at this stage,” he said.

INDULGENCE FOR THE WIN We are embracing our hedonistic side and eating out more frequently, Statistics NZ reports. Museum Hotel owner Chris Parkin said its French restaurant Hippopotamus was definitely enjoying a lift in spending, but wants to “see the long corporate lunch, fuelled by magnums of good quality booze, come back into fashion. I can see that just around the corner.”

Carlita Campbell has been awarded the Ōra King Chef’s Bursary, and will travel to London in May on work placements at restaurants The Berkley and Theo Randall Park Lane Intercontinental. “I can’t wait to go to London and immerse myself in the food culture there,” she said. Campbell chose London because that’s “where hard chefs are made”. Campbell won with her self-designed dish of Beetroot cured Ōra King Salmon on beurre noisette rye crumbs with pickled golden beets and vanilla mayonnaise. The dish delivered “striking visual impact with well-balanced flavours and textures,” the judges said. She works at Wellington’s Cobar Restaurant as a chef de partie.

EDIBLES

F ROM BEAN TO BAR WRITTEN BY ANNA JACKSON-SCOTT | PHOTOGRAPHY BY DANIEL ROSE

“C

hocolate in its purest form contains nothing but cocoa and sugar,” says Rochelle Harrison. Wellingtonians Harrison and her business partner Gabriel Davidson are the driving force behind the Wellington Chocolate Factory. Their new chocolaterie on Eva Street testifies to their determination to produce the purest chocolate possible. The open plan shop reflects their philosophy. Visitors can observe the entire progression of the chocolate from bean to bar. Their aim is to create the highest quality chocolate with no secrets behind its origin or production. “I want to educate people on the chocolate-making process,” Harrison says. The process begins with the sacks stacked against the wall proclaiming the origin of their bean. A look through a window off the main room shows the beans being cracked and sifted to remove the husk from the nib, the edible part of the cocoa bean. “Tea can be made from the cocoa husks, but it’s not very nice,” Harrison laughs. A granite stone grinder, which revolves behind another window, blends sugar with the beans into a smooth paste before it is poured, set, and aged on racks behind the counter. Aged? “It’s just like cheese or wine,” Harrison says, “ageing the chocolate for one or two months brings out the flavour”. In the back of the shop, bars of ripe chocolate are being hand wrapped in illustrations by Wellington artists Gina Kiel, Simon Morse and Milarky. Rochelle Harrison spent 17 years as a pastry chef before turning to chocolate, but she found educational gaps in the business. “I didn’t actually know where the chocolate was coming from, and I couldn’t find out what I wanted to know”, Harrison says. After several years of research, she began the Cocoa Press, importing and roasting the beans herself. Teaming up with Davidson, who founded high quality instant hot chocolate companies in Melbourne, the Wellington Chocolate Factory was born. “It is New Zealand’s first walk-in “bean to bar” set-up,” she says.

The “bean to bar” philosophy is about understanding the production process every step of the way. “It’s like the craft beer or specialty coffee movement,” Harrison explains, “People are now interested in where their food comes from.” Harrison largely imports from small farms in Trinidad and Tobago, the Dominican Republic, and Peru. Madagascar is another supplier. “These beans are higher quality than countries with larger production rates,” explains Harrison. “They yield one crop per year as opposed to the two or more of the more common supplier countries, and the beans are smaller and more potent. Larger beans have a less distinct flavour, so companies add things like vanilla to spruce them up. With the quality beans we use, that’s unnecessary.” A quick taste test is telling. Each origin has a completely different flavour despite the fact they’re all made from 70% cocoa and 30% sugar. The Peruvian bar offers apricot notes; the Trinidad and Tobago has a subtle mint and floral flavour and leaves a definite spice on the tongue, and Madagascan is strawberry jammy. The Dominican, deep and full flavoured, is a more classic variety. Perhaps the most unusual is the two-tree bar, made from 52% cocoa and 48% coconut sugar. Despite the purity of these bars, “the salt and brittle caramel is still a bestseller,” Harrison laughs. The chocolatier already works closely with her South American farmers, and now she’s looking for more local growers. New Zealand-grown beans are unlikely at the current stage of global warming, but Harrison says the Pacific is a definite candidate. Papua New Guinea, the Solomon Islands, Vanuatu and Fiji are all possibilities. Good chocolate is becoming much better appreciated, but the name is also of interest. “Cacao is one of the oldest words still used today,” Harrison says. “Over the years English speakers turned it into cocoa.” The tree’s original name, Theobroma cacao, means “food of the gods”.

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ADAM PORTRAITURE AWARD & EXHIBITION 20th Feb - 25th May 2014

Admission Free

Come along and vote for People’s Choice New Zealand Portrait Gallery Open Daily Shed 11 10:30am - 4:30pm Queen’s Wharf

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EDIBLES

EAST Y FEAST Y RECIPES BY UNNA BURCH

aster is a great time for family feasts, sharing and celebrating. It’s the perfect opportunity to cook even more than I normally do. Even just making my boys a cooked breakfast says ‘we’re in no rush today’. Prepare this menu in advance. Or split it between a group of family or friends sharing costs and cooking. I was lucky, my father came over and polished all the silver for me and my mother looked after the boys while I got this ready. I love putting everything onto platters in the middle of the table and everyone helps themselves. That sound of hustle and bustle at the table, when everyone is hungrily scooping things onto their plates and passing things around with chatter is perfect. And it is followed by moments of silence while everyone takes their first mouthfuls. That chaos to calm makes me smile.

Full costings & supplier details are available at capitalmag.co.nz

EDIBLES

ISRAELI COUSCOUS SALAD WITH A LEMON V I NA I G R E T T E Israeli or pearl couscous is one of my favourite things to have as a salad base. It has the same cooking method and texture as pasta. I found mine in the ‘Alison’s Pantry’ section of the supermarket so it’s a pretty common ingredient. If you haven’t tried it before I suggest you do, my kids love it! Any left overs make a perfect lunch for work or try it as the next dish you take to a pot luck or BBQ.

METHOD Serves: 8 as a side dish Prep and cooking time: 20mins Salad 2 ½ cups Israeli couscous ½ cup pinenuts (or sunflower seeds) lightly toasted¾ cup currants zest of 2x lemons 150g feta - I used a local Zany Zeus creamy feta Small bunch pea shoots or sprouts Bunch of flat leaf parsley, chopped Bunch chives, finely chopped Dressing 4 Tspn olive oil – I used Al Browns lemon and fennel infused olive oil, its very good. Or just use regular olive oil and extra lemon juice 2 Tspn lemon juice 2 Tspn rice wine vinegar 1 Tspn runny honey Salt and Pepper

Bring a large pot of water to the boil and season generously with salt. Cook the couscous for 8mins or until al dente.

While the couscous is cooking shake all the ingredients for the dressing in a jar. Taste for seasoning – salt, pepper and lemon.

Drain the cooked couscous and add to a large mixing bowl. Pour the dressing over while its hot so that it can absorb all the flavour.

Add all the other ingredients except the sprouts and mix well (I save a little bit of everything to add to the top of the salad once mixed – this is purely for aesthetics, as when its all tossed together, some of the ingredients can get ‘lost’) Taste. Does it need salt (it has feta and that is salty) pepper or more lemon juice? Once the seasoning is good, transfer to a platter to serve on. Just before serving add the sprouts on top, drizzle with olive oil and an extra grind of black pepper.

Note Pea shoots are available from Moore Wilsons already grown, much like living herbs. Or you can grow them on your windowsill in your kitchen from seed. They usually germinate ready to use in 7-10 days! A good project to do with the kids.

To serve Olive oil Cracked black pepper

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EDIBLES

S L O W R OA S T E D MOROCCAN SHOULDER OF LAMB WITH A FRESH M I N T S AU C E A shoulder of lamb is a cheap cut, cheaper than a leg. It’s perfect for feeding a group of people. Slow roasting is super easy, even for an amateur cook because there’s no blushing pink, poking or prodding of the meat, you just let it cook and do its thing. You know it’s good when the meat just falls from the bone. And I can guarantee you it will still be succulent and juicy!

METHOD Prep: 30 mins Cook time: 3 ½ hours Serves: 8

Lamb:

Toast the cumin seeds, coriander seeds and sumac until the seeds start to pop and brown. This will intensify their flavour. Transfer to a pestle and mortar and grind (or bash on a board with a rolling pin OR use ground cumin and ground coriander).

Transfer the spices to a small bowl with the honey, lemon zest, lemon juice, olive oil, rosemary and garlic and mix. Scatter the onion over a casserole dish or a deep roasting tin. Place the lamb on top of the onions. Pour the glaze over the lamb. Rinse the bowl out with about 200ml water, then pour it around – not over – the lamb.

Cover with a lid or foil. Roast the lamb at 160C, undisturbed, for 3 hrs, then remove the lid or foil and continue to roast for 30 mins to give the lamb colour. Pour off the juices, remove as much fat as possible, then pour the juices back over the lamb. Those onions will be caramelised and yummy. Serve with some wedges of lemon on the side to cut through the fattiness of the lamb.

4 tbsp runny honey 1 tbsp cumin seeds 1 tbsp coriander seeds 1 tspn sumac (optional) 1 bunch rosemary, leaved picked, finely chopped Juice and zest of 1 lemon 1 tbsp olive oil 4 garlic cloves, finely chopped 2 red onions, halved and sliced 1 shoulder of lamb, weighing about 2kg, lightly scored Salt and pepper Mint sauce: bunch of mint pinch salt 4 tbsp boiling water 4 tbsp white wine vinegar 1 level tbsp caster sugar

For the fresh mint sauce: 1.

Pull the leaves from the stalks. Sprinkle with salt on a board and chop finely.

Put into a jug, add the sugar and pour over the boiling water, stir and leave to cool.

Stir in the vinegar and taste.

Add more water or vinegar and adjust seasoning to suit your taste.

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PA N T R Y

C H O C O L AT E MOUSSE CAKE This decadent Chocolate Mousse Cake is my ‘ultimate’ chocolate dessert. This time I made it with a beautiful local Wellington Chocolate Company chocolate which is fair trade and organic. I went into the store and explained what I was making and Rochelle recommended the perfect chocolate for the dish. Make this a day ahead. The mousse needs time to set so that when you cut it it doesn’t flop onto the plate.

METHOD Prep time: 1 hour, plus cooling and setting Cook time: 40-50 min Serves: 10-12 Cake 150 g dark chocolate, at least 70% 150 g unsalted butter, chopped 5 eggs, separated 150 g caster sugar Chocolate mousse 200 g dark chocolate, chopped 30 g unsalted butter 3 eggs, separated 300 ml cream, whipped Raspberry ‘paint’ (The raspberry ‘paint’ is optional. You can just serve a wedge on a plate with a dollop of cream and im sure you’ll have no complaints!) 3/4 cup raspberries (fresh or frozen) 2 Tbsn caster sugar 1 Tbsn water 1/2 tspn arrowroot (or cornflower mixed with a little cold water) To serve Extra chocolate to grate over cake Whipped cream ½ punnet of raspberries or peeled orange segments if raspberries are not in season Borage, edible flowers (optional)

1. Preheat the oven to 180C/fan 160C/gas 4. Grease and line a 24cm springform cake tin. Put the chocolate and butter in a heatproof bowl and place over a pan of simmering water, making sure the water isn’t touching the base of the bowl. Stir until melted and smooth, then remove from the heat. Allow to cool to room temperature so that the chocolate doesn’t seize when the egg is added. 2. Whisk the egg whites with a pinch of sea salt in a large dry bowl until soft peaks form. Tip in half the sugar, one tablespoon at a time, whisking until glossy and stiff. Beat the egg yolks with the remaining sugar until pale and increased in volume. Carefully stir into the melted chocolate, then fold gently through the egg whites with a large metal spoon. Scoop into the tin and bake for 40-50 minutes, or until a skewer poked into the centre comes out clean. Leave the cake to cool in the tin. It will sink a little. I actually push the cake in even more by gently pressing on it so it gives more room for the mousse to fit in. Leave in the tin For the chocolate mousse 1.

Melt the chocolate and butter in a bowl over a pan as before, then leave to cool. Whisk the egg whites in a clean dry bowl until soft peaks form. Beat the egg yolks into the cooled chocolate, one at a time. Fold in the cream and egg whites in two batches. Spread over the cooled cake, filling the cavity that’s been created. Cover and refrigerate until set – at least two hours or overnight.

Raspberry ‘paint’ 1. Heat the berries, sugar and water in a small sauce pan on a medium/high heat until it starts to thicken and coat the back of a spoon. Remove and pass through a sieve to remove any seeds. Put back onto the heat and add the arrowroot or cornflower and cook for a further minute. You want it to be not as thick as jam, but not too runny or it wont ‘paint’ on. If it’s too thick add a little more water. If it’s not thick enogh, cook a little longer. To serve 1. If you have made your cake ahead of time (and not needing setting time to the last second) pull the cake out when the guests arrive so that it can come to room temperature. Grate some chocolate over top. 2. Paint a line of ‘paint’ on each plate. I just use a regular 3cm wide paint brush that I keep just for this purpose. 3. To get a nice clean cut, warm a knife under warm water, dry, and then cut. I do this with each cut so that it gives nice clean slices. Don’t make the portions too big as it’s a very rich cake. Serve the wedge of cake on top of the raspberry line with whipped cream, a few berries on the side and some edible flowers for a fresh pop of colour.

L EE SA D E R S E C TEI D O INB H

CHEERS

G AR AGE PHILOSOPH Y BY KIERAN HASLETT-MOORE

Pete Gillespie left for the big European OE with a PhD in Philosophy. Years later he returned to Wellington as an experienced brewer with his sights set on bringing brewing back to the CBD.

efore his career in brewing, and long before the Garage Project, Pete Gillespie was a philosophy student working on a thesis, Playing on the edge: young men, risk-taking and identity. It was in this tradition of young Kiwis throwing caution to the wind and venturing out up north that saw Pete stumble into the brewing industry. After finding himself in the UK Pete managed to talk his way into a brewing job at beautiful old Brakspear Brewery which used sit at Henley on the banks of the River Thames. It was a hell of a first gig, Brakspear was often described as being a cathedral of a brewery with ornate stained glass windows, copper vessels, wooden panelling and spiral stair cases – all the sorts of embellishments that are missing from modern utilitarian brew houses. Eventually Brakspear was shut down and sold off for the real estate value and Pete found himself working at Horsham’s busy Hepworth and Co Brewery brewing all sorts of the beers for different micro brewers under contract. A move to Australia saw Pete working for Lion Nathan’s James Squire Malt Shovel Brewery brewing increasingly mainstream beers day in day out until he lost faith and resigned to follow his own project. That project eventually took form as the Garage Project. Along with his business partner Jos and brother Ian, Pete set about forming a brewery that drew on all of his experiences but also did things very differently from the normal brewery model. 56

Set up in the old service station and garage in Aro St, the Garage Project might not have the grandiose stained glass or Victorian wood panelling of Brakspear but its sleek black and white tiled cellar door and beautiful bohemian staff certainly leave an impression on those who visit just as profound as the old Thames-side brewery did. Drawing on his experience at Hepworth and rejecting his experiences of monotonous production at James Squire, Pete decided to have a changing roster of beers rather than a core range of constantly available brands. This has meant that there is never a chance for Pete to be bored and it keeps Garage Project fans hungry as the beers they love are only ever available for limited times. They have also focused on creating special unusual beers for events outside the beer world. Be it a Fringe Festival beer with sumac, a ballet beer with champagne yeast, or a baking competition beer, the Garage Project range has been anything but confined by convention. I often find myself describing Garage Project brews as “rock star” beers as they are often big and show stopping rather than everyday and workmanlike. All this has worked well for the Garage Project. They have already added a second garage full of tanks and have recently ‘swapped out’ their brewery for one twice the size. Pete is constantly busy trying to keep up with the demand and balancing family life with his partner and kids, a situation that is set to continue as there is no sign of the brewery slowing down any time soon.

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BY THE BOOK

THE BREAKDOWN Unfair Fight: Give Your Small Business The Winning Advantage by Sam Hazledine, Random House, $39.99 Who: This is the first book by Wellington-bred doctor-turned-entrepreneur Sam Hazledine, who recovered from a 2002 head injury to return to medical school, and become the NZ extreme ski champion. In 2006, Hazledine founded highly successful Australasia medical-recruitment agency MedRecruit, and in 2012 he was a category winner in the Ernst & Young Entrepreneur of the Year awards. What: Using the analogy of a boxing match, divided into 12 rounds, Hazledine offers advice, anecdotes and tools for success to the 97 per cent of Kiwi businesses with 19 or fewer staff. A staggering 96 per cent of small businesses fail, and he wants to change that. Key quote: “In my experience, the 80:20 rule of business success is that only 20% of your success comes from what you do, and a massive 80% of your success comes from how you think, your personal psychology.” Good point: “Success isn’t complicated, it just requires taking good actions consistently.” Why read it: There are a few too many metaphors, sweeping statements and mentions of Anthony.

After the success of his wonderfully satirical first novel Their Faces Were Shining, TVNZ’s former US correspondent Tim Wilson continues his adventures in fiction. New novel News Pigs (VUP, $30) chronicles and parodies the misadventures of Kiwi news hack Tom Milde, trying to get his big break reporting in the US. Autobiographical, much?

Wellingtonian Juliet Jacka started writing junior fiction during maternity leave, and it’s sure paid off. Night of the Perigee Moon, her story about a 12-year-old girl with magical powers, won the 2013 Storylines Tom Fitzgibbon Award for a previously unpublished writer, Scholastic snapped it up and it has just hit bookstores.

Award-winning local author David Hair has three fantasy series for young adults to his name. Fans of The Aotearoa Serieshave been eagerly awaiting the April release of the sixth and final book Magic and Makutu (HarperCollins, $24.99), which concludes the tale of a part-Maori boy’s journey from fugitive to hero in a magical parallel world.

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BY THE BOOK

UBER COOL AND HAS A SOCIAL CONSCIENCE? WRITTEN BY SARAH LANG | PHOTOGRAPH BY TAMARA JONES

the collective’s 19 books to date. Think “experimental non-fiction and heavyweight literature” that traditional publishers probably won’t take a risk on, but deserve an audience. “Our books tend to be either more experimental, cross-genre or explicitly political than other local publishers,” Stephens says. “For a political city like Wellington there is a surprising dearth of literature that is political.” He means political both in a strict sense – such as Meros’ explicit political satire – and in a wider philosophical sense, such as Thomasin Sleigh’s incisive debut novel Ad Lib with its contemplation of privacy in the age of reality TV (it centres on Kyla Crane, who inherits her dead celebrity mother’s reality show). At Ad Lib’s March launch, Sleigh read a passage to a crowd of student-chic literary types. The event doubled as the launch of Meros’ latest: the mildly amusing satirical guidebook Dating Westerners: Tips for the New Rich of the Developing World. With its tip boxes and learning outcomes, it carefully positions Westerners under the East’s voyeuristic gaze rather than vice versa. Meros didn’t make it to the launch, but Stephens spoke for him. Then, and when we meet, it feels like Stephens is trying to project a certain version of himself. But perhaps he is just as he appears: an intellectual, uber-cool boy-about-town with a social conscience. Though he may also be someone else.

urdoch Stephens is fashionably late. Then really quite late.Then ridiculously late. But it turns out he got the days mixed up. He calls to apologise and power-walks from Victoria University down to the Abel Smith corner of Cuba Street in an impressive 12 minutes, with rivers of sweat colonising his forehead. A boyish-looking 32, Stephens is the editor-inchief of Wellington non-profit publishing collective Lawrence & Gibson (L&G). It began as a one-off thing in 2005 when he and five Aro Valley friends teamed up to release Richard Meros’ first book On The Condition and Possibilities Of Helen Clark Taking Me As Her Young Lover. No one was over 25. No one had any specific publishing experience. “We thought no publisher in their right mind would release it,” Stephens remembers. “It seemed too insane for a bookstore to even stock it.” But after The Guardian interviewed Meros, a torrent of attention saw the book become a cult hit. It was eventually adapted into a successful stage play, as were Meros’ subsequent books Richard Meros Salutes the Southern Man and Privatising Parts. With eight books of political and cultural satire to his name, Meros is easily the collective’s most prolific and successful author. But L&G isn’t just a Meros vehicle. Up-and-coming authors, including Brannavan Gnanalingam and William Dewey, have penned 11 of

BY THE BOOK

See, Richard Meros is a pseudonym. “Much of the media around him has hinted this way and that way as to who he is, most of them concluding that he is me, which I must say is a rather scurrilous conclusion,” Stephens says. “Well, not scurrilous really. People would assume that [it’s me] just by the amount I’m involved.” Yes, and when Kim Hill interviewed Meros in 2012, he sounded an awful lot like Stephens. He’s not going to definitively admit anything, so I change tack and ask what Meros is like. He laughs. “Pretty tall.” (Stephens isn’t.) Okay, so why would someone create a pseudonym rather than use their own name? “With his first book he thought he would get sued for defamation. Now, there’s been some talk about discarding that pseudonym, or just stopping writing altogether.” But if Meros stops, the collective will continue. Sales of new titles and back copies are strong. Priced comparatively cheaply at between $15-28, the majority sell online (at lawrenceandgibson.co.nz), but they’re also stocked around the country, most notably by Unity Books. Currently the collective has a healthy surplus: money that’s poured back into producing visually appealing books, using New Zealand-made recycled paper. “That’s an aesthetic choice,

work for future releases. But the collective would exist without him. In 2009, after L&G had released six books, Stephens spent two years travelling overseas. When he moved back, the collective had released two more books and another was in progress. Now the other founding members have all left Wellington. “Some still help as mentors to check, say, the design and PR,” Stephens says. But acquaintances, especially new authors, have filled the gaps. They don’t have formalised meetings like the old days. “We do a lot online then come together to physically produce the book, but we also see each other round.” Either they were already friends or they are now. “Everyone has other jobs and other things to do so everyone’s just in it for the love of literature.” Stephens certainly has plenty on his plate. In February, he began a fulltime, three-year PhD studying rhetoric through Massey Albany’s communications department. The working title sounds like a Meros book: “Who believes in the Internet? Cynicism in the digital/ media age with constant footnotes on Peter Sloterdijk.” Between publishing and study, how does he pay the bills?

“With his first book he thought he would get sued for defamation.” an environmental choice, definitely not an economic choice,” Stephens says. “The paper costs at least five times as much, but we have basically no labour costs.” The collective’s financial secret is simple. “We aim to have no – well, very low – overheads.” There’s no office. Stephens, the six other key members, and various mentors/helpers work unpaid. Plus the authors help the collective physically make their books, using the premises, printer, guillotine and binder at anarchist publishing collective Rebel Press (which gets a minimal fee). “A cornerstone aim [of the collective] is for writers to be involved in every part of the book-production process, so they have an intimacy with the finished product. Rather than being alienated [from production], you’re there at the moment the first book is guillotined. The look on Thomasin’s face when she saw the first copy…” And, extremely generously by publishing standards, the author-cum-labourers get half of their books’ profits. Stephens, who works long hours unpaid, does it because he enjoys it. In new-release mode, he puts in around 30 hours per week, doing text layout, design, and binding books; one day recently he worked 15 hours. At quieter times he works 10-15 hours per week: including editing, dealing with orders, and provisional

“I live simply and cheaply.” But, to eat, he sporadically does research and tutoring at Victoria University. Somehow he finds time for other involvements. While travelling in Iran, he found photographs of Afghan refugees in an old detention centre, brought them home, and exhibited them at Pataka in Porirua. In June 2013 he launched (and is still spearheading) the Doing Our Bit Campaign, which wants New Zealand to double its annual refugee quota from 750 to 1500. “The quota hasn’t increased in 27 years, and Australia takes 4.7 times as many per capita.” Recently, he’s met with politicians who have pledged support. And, with Wellington-based artists’ group Concerned Citizens Collective, he’s helped set up 19 Tory St as a space to hold free artistic events, which often raise funds and awareness for social/political causes. Lawrence & Gibson is a cultural cause. As the newrelease list and local content of the big publishers keeps shrinking, collectives like this are one way of publishing books and authors that wouldn’t otherwise reach eyeballs. Richard Meros has said the future for publishing is creating music’s version of vinyl: beautiful objects that “can sit on their shelves, spines facing outwards, and look sexy”. Perhaps unsurprisingly, Stephens agrees.

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LO OMIO LO OMING Wellington-born online collaborative tool Loomio is one step closer to open availability and access for everyone. For the past 18 months, select individuals and organisations including Wikimedia and The Wellington City Council have had access to the software prototype; providing feedback and contributing to discussion on how to refine and improve it. “So far it’s been in software terms what’s called ‘the beta version’ which is like, ‘we’re working on it’. And there’s 10,000 people around the world playing with [this] version in about 17 languages. From working with them we’ve learnt what we need to do to launch Loomio 1.0,” says Loomio co-founder Vivien Maidaborn. In March Loomio launched the next step – a crowdfund campaign with the goal of raising $100,000 by April 16, to enable the release of Loomio 1.0 in November this year. Just 12 hours into the campaign, Loomio had already raised $10,000. “It is a huge target for a software campaign, and as this is the first New Zealand-based software crowd fund campaign ever, we’re delighted with such a great start,” says Maidaborn. For more information on how Loomio works or to donate to the campaign, head to loomio.org.

Written by Melody Thomas | Photograph by Jeremiah Boniface 63

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ROOMS WITH A VIEW WRITTEN BY KAREN SHEAD | PHOTOGRAPHY BY DANIEL ROSE

Before visitors even reach Russ and Deb Wallace’s house in Titahi Bay, they just know the views are going to be stunning.

riving up the hill the glimpses of the Tasman Sea glisten in the sun. And as I arrive at their property, which stands tall with its blue roof at the end of the street, the view beckons. Looking out at the endless stretch of sea, with Kapiti Island to the right and Mana Island to the left, the start of Titahi Bay itself is visible with its curve of beach-huts that flank the water’s edge. “We love the views,” says Russ. “Deb and I are a couple of real romantics and we just sit here for hours and look out at the sea.”

$50,000 more for the views, but it was worth it.” Russ estimates that the house sits on a 1970s subdivision. “Someone must have bought the land, which would have been the jewel in the crown with these views, and then probably moved the house here in the early nineties.” The house which was formerly in Kelburn, was split into two to be moved to its current site. “There are some people in the area who remember the move,” says Russ. That the house was in “desperate need of repair,” did not put the couple off. Russ, who is an architect and for-

“Deb and I are a couple of real romantics and we just sit here for hours and look out at the sea.” It was the reason they moved to the house ten years ago from their home in Hataitai, Wellington where they had lived for 25 years as a family of four with sons Scott, 31, and Ryan, 29. Both children are now living out of New Zealand. “Deb was the driving force for moving here,” Russ explains. “She is from Nelson and she wanted to have a view of the ocean. We knew we were paying about

mer draughtsman, was happy to take on the rather large DIY project, and Deb, who works as a school secretary at Russell School in Cannons Creek, was happy to offer support. “I love working with my hands,” says Russ,” and we had done up a house before so we knew what we were doing. It was much more enjoyable this time though.” Russ, who works for the Open Polytechnic in The

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Hutt Valley, has fitted the renovations in around his day job, although admits that it takes a huge amount of time and commitment. “You’ve got to want to do it. If you don’t love it and you don’t have the time, it will be hard work,” he says. “I love it. It is a wonderful feeling when you know you have made everything around you.” The computer screen in the smallest of the three bedrooms, which is used as a study, glows with red, green and yellow dots and lines on a black background – these represent every nook and cranny of the house. Russ plans all of the projects on CAD (computer-aided design) software and then carries out the practical labour in his workshop underneath the house. The first thing Russ and Deb renovated was the kitchen. After planning everything on the computer, Russ built a mock-up of the new kitchen in his workshop, assembled it and then put it into place. He has created a very practical, working kitchen with a happy abundance of natural timber. The white goods,

to fit it in and to make it harmonious, but it was impossible,” he says. Other smaller renovations include replacing “an unspeakably ugly front door,” repainting the hallway and staircase, which leads from the front door up to the onelevel house, and other general maintenance. Photographs of the house in its former state reveal rotten window frames and walls with rot and exposure. Russ went on a course to learn about lead-light windows, so he could repair and replace the windows in the house. These lead-light windows are another reminder of the forties, as is the cornice on the ceilings, the lead- light lampshades and original door handles. The lounge has two black leather chairs which can be angled to face the curtain-less window with its pictureperfect view, and show that the views are appreciated from inside and out. “It is lovely to sit here and look out. Sometimes we get horses going by from the Titahi Bay Riding School next

“It is a wonderful feeling when you know you have made everything around you.” including fridge, freezer and dishwasher, are all hidden behind hand-built wooden doors, and even the microwave has its own cupboard. It took a year to install the kitchen, and looking at the before, during and after photos, it must have taken some stamina to live in such disarray for that time, but Russ loves the process and says it has saved them a lot of money. “I used natural timber and if you asked a joiner to do it, it would be so expensive,” he says. “You can genuinely release money to do other things if you do these things yourself.” After the kitchen was finished, they renovated the laundry, which is adjacent to the kitchen, and then the bathroom. The bathroom, has just been completed, and has a real air of tranquillity, and although has a modern feel, there are many reminders of the house’s 1940s history, including the wall-paper with its repeated pattern of fanlike shapes. Previously, the bathroom furniture was bright yellow with a classical 1940s pedestal sink, which Russ wanted to keep. “It was a gem and I tried and tried to work out a way

door, which is really rather nice,” says Russ. But, if everything seems perfect, he admits that there are downsides to living on an exposed plot of land next to the ocean. “When people come here on a beautiful sunny day they think it is just wonderful,” he says, “but there are minuses, too. The salt air causes corrosion and the exposure means Deb can’t do the gardening she wants to do – she is absolutely heart-broken about that.” Russ plans to build glass-houses so Deb can grow veges, and he also has plans for the outside of the house. “The house has lots of very elegant features, but what it is sitting on is pretty ugly,” he admits. “I want to soften the outside by putting up horizontal lattice work and have plants trailing up it.” He also has big plans to re-do the driveway including lifting up the current concrete and pouring fresh concrete in radiating patterns to continue the Art Deco theme. “When all of that is done, we will be truly happy”.

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SPORTS

THE COMPETITIVE SPIRIT WRITTEN BY MATT HARROP | PHOTOGRAPHY BY BRENT BACKHOUSE

Groups of lycra-clad cyclists are a familiar sight around town swooping down hills and around the bays, and sprawled outside cafes after short weekend 100k rides. Matt Harrop describes the experience from inside the peloton.

bi-product of road riding in the capital is a unique love affair between bike, rider and the winds that switch direction like an hourglass. For more than 20 years, a close group of like-minded riders have come together to test themselves against other strongmen in town, battling the elements and chasing hills, each other, and their own shadows all over the Wellington region. The shared pursuit of good company, quality tempo riding, and the best après-velo espresso stops has given rise to the MeoGP Racing Team riders with backgrounds as diverse as their ages, united by an unspoken love of the bicycle, training hard and racing harder. Based on years of consistent suffering and performance, the Meo GP has a place in Wellington cycling mythology. To ride the GP is an achievement, to hold the wheel on the climbs and not skip turns on the flat, an indication of true race form. Being in that zone in the GP pack is a feeling like no other. The MeoGP was formed some time in the early 80s when Andrew and David “Davis” Meo terrorised the streets of Wellington during their development as

competitive racers. The Meo brothers learned the ways of cycling in an era when cycling etiquette and peloton hierarchy were vigorously enforced. With no power meters or compact cranksets in sight, the Meo brothers gained reputations as hard men. Andrew and David rigidly enforced the old world values of hard work during the GP training rides - hard, honest effort with no shirking nor prima donnas was the standard. Respect was earned and punishment for breaches of etiquette was severe - usually resulting in being forced to chase long distances after futile attacks. The typical comment from one of the brothers, upon catching back on, was always along the lines of, “you’ll get stronger chasing on your own, eventually you’ll be able to keep up”. That is the spirit of the MeoGP. A indication of the class and style of the GP comes in the form of the MeoGP’s official symbol, the white horse. It is an adaption of a driving game born in the back seat of their parents’ car, Andrew and Davis then applied the game to their riding - if one spots a white horse during a ride, and is first to call it, an automatic

SPORTS

30 second time bonus results. False calls incur a time penalty of 30 seconds. The real white horse resides in Crema under Andrew’s watchful eye. The team is currently considering the purchase of a life-size white horse to adorn the lawn of one of the GP riders’ properties. The White Horse competition is one of many such competitions that play out on the road during GP rides. In addition, the Meo GP Sprint Ace and KOM (King of the Mountains) jerseys are contested on alternate weekends on legendary parcours such as the Makara town sprint, Tomlinson sprint, Placemakers sprint, and other identified zebra crossings around town. The KOM competition features a range of cols around the Wellington region, from Korokoro’s twist-

phy, caffeine intake, and sock height. Quietly spoken but infinitely passionate, he manages Wellington’s own high end retailer and distributor, Armstrong Sport. Armstrong Sport is now the spiritual home of the MeoGP Racing Team - second only to Deluxe, the source of the GP’s obligatory post-ride recovery food and coffee. However, the GP team Director and founder, Andrew “Slim” Meo, issues directions from his home in Crema, Italy, and (via Instagram) ensures that the high standards of the MeoGP are maintained on the ground in Wellington. Ordering a bowl latte puts a GP rider at significant risk of receiving a not only a stern word from the Director as well as a ticket for breach of the GP’s code. Slowly but surely, the MeoGP’s young guns are being weaned

“cycling is all about escapism and companionship...” ing grind to the steep punch of Moonshine. The MeoGP is proudly supported by a number of local and international businesses, including Ricoh, Armstrong Sport, Rocket Espresso Milano, and J Tomlinson & Co, which help support the team in pursuing their passions. In particular, in the last couple of years these businesses have banded together to support the GP Development Team, made up of the younger members of the MeoGP, with subsidised kit and race entries to help them pursue their cycling goals and progress their riding careers. In the age of hashtags and social media, the spirit of the GP has recently been enshrined in the letters #BTMFD. But what does this stand for? As with all things GP, there’s a story behind it, but that’s for another day. BTMFD - break the mother f***** down. Any act of riding bravado, especially a race win, gets labelled with #BTMFD. Usefully, the phrase applies to racing and training and bikes both literally and figuratively, in a number of ways. It’s conveniently printed on the GP jersey collar as a constant reminder when zipping the jersey up in the morning. Today, self-titled MeoGP communications officer Brent Backhouse is the local team coordinator who works tirelessly to manage everything from the GP’s brand image, kit, team logistics, ride times, photogra-

off their youthful affection for Coke and onto Wellington’s finest espresso. In this peloton, discipline is everything, on and off the bike. Cycling reflects many facets of society. For many, cycling is all about escapism and companionship. On the bike, you have the wind, the terrain, the weather, and each other. The concerns of modern life get left behind the moment you clip in. In Wellington, riding in the GP pack it is about the shared pursuit of adventure and experiences. Sure, there is suffering, but it is that suffering, and the possibility of hanging on that little bit longer, going that little bit faster or that bit deeper into the red, or even taking one of the GP’s classification jerseys for the week ahead - that keeps the GP boys coming back to ride. But the Meo GP isn’t just about the riding - being part of this select group means upholding an Italian legacy for style, the work ethic of the immigrant and the hard man attitude that was so evident in New Zealand pioneering culture. At the heart of the Meo GP is recognition of the fact that to suffer on a bike with class and style is true art in motion. Through the years, the black and orange kit of the MeoGP Racing Team has become synonymous with the competitive spirit and the highest standards of training and racing in the Wellington area. Long may it continue. http://www.meogp.it/

W E L LY A NG E L

WHAT WOU L D DE I R DRE D O? SINGLETONS My partner’s father keeps turning up on our door step unannounced. He is single, in his sixties and; we suspect, quite lonely. We often get notes in the letter box because we were out when he dropped by. We’ve hinted that it’s best to ring and organise a time so we will be home (that’s what my parents do) but he doesn’t get it. We are happy to see him but I think impromptu visits are rude when we have busy schedules. Are we being mean-spirited? J Smith, Wellington Yes. Family rules.

A QUESTION OF ETIQUET TE Where do you stand on the business of using phones in the middle of conversations. I have a friend who produces her very smart phone, whenever and wherever, in a large or small group; if conversation pauses she looks at her phone and says things like “Oh India has invaded Iraq”, or “Oh my daughter has bought a new dress, look? Phone phobic, Roseneath The world has changed and communication has irrevocably changed with it. I am guilty of this devotion to my i-phone (and so impressed with myself being so techsavvy) but I have a personal rule that I try to follow....switch off at dinner or lunch or with friends ... go to silent if I am working. This is a world where you are expected to be available and if you are not you miss out! Sometimes this matters – sometimes it doesn’t – pick your times. Don’t share the information you receive, don’t check texts and if you must talk, step away from the gathering and be brief! Or, don’t answer.

PARKING POSER I have just spent $1300 having part of a retaining wall re-done so I can turn my car around halfway up my drive. Why? Because my neighbours insist on parking their Featherson St tractor so close to my drive access that I cannot see to back out and even driving up is really difficult. This has not been a problem previously. Despite my asking politely, if they could park further back, they insist they are a metre from my drive. What do I do next? Irritated, Ngaio Seems like you have done it and solved the problem by building the retaining wall? I am not sure what you want to know? I have never heard of a Featherston St tractor and did a bit of friend research, we concluded that this is an SUV city farmer car you are referring too? Is jealousy raising its head here a little? Get over it and get on with enjoying turning your car in your new driveway space.

SCARY MOTHER My friend has been really really annoying to all of us and we decided to just keep him out of the loop for a while, so we haven’t been talking to him for a while, just getting on with stuff and not including him. His mother went mental at us, accused us of being mean and bullying and demanded we include him. We don’t think it would be fair to him to tell her why, but don’t think she should be telling us off. What do you think? Unfriendly, Oriental Bay 71

I don’t know how old you are but this sounds very teenager to me and even worse, childish in the extreme. But, that said, bullying is horrid and not for friends at all so I suggest the feud is declared over and you get on with being nice to everyone and setting a good example.

RAMPANT HAIR My partner has decided to grow a beard. Not a well tended stylish version but a rampant, cover as much face as possible “wild man” thing that he intends to grow long enough to tuck into his trousers. I think it is truly awful and am astonished that random men and women marvel and are, at times, moved to touch it. As much as I would love to chop into it when he’s asleep I still respect it as his property. Should I insist on him plaiting or tying it up when we’re out or in bed or am I just being precious? Delilah, Newtown He is your man so you need to sort it out together. It might be a fad and not last forever – there are probably more important things in life than hair - your ‘wild man’ description will appeal to plenty of ‘Janes’ out there who will be happy to swing him off through the jungle to be their Tarzan so it is all up to you two!

If you’ve got a burning question for Deirdre, email angel@capitalmag.co.nz with Capital Angel in the subject line.

CARS

PEDIGREE SHOWS THROUG H BY MARK SAINSBURY I had a life-changing experience the other day. I got another dog. Our previous golden retriever (Robbie) passed on eighteen months ago. I didn’t want to replace him. Then I met Danny at the SPCA so my days now consist of huge walks and runs. Danny’s a Hungarian vizsla/cattle dog cross and according to the infallible internet the Vizsla is one of the most energetic dogs on the planet. I expect to be as thin as a stick by the end of the year. Speaking of sticks, Danny shows no interest in chasing them but is very interested in cars. What’s a good car for a dog especially with kids? Then Ed from BMW provided a brand new 30d x-drive diesel X5 to evaluate? Seven seater and plenty of room for a dog. I was impressed to discover the tail gate is dog friendly with a flap (same as Range Rovers have) which covers the gap between the rear floor and the gate itself so the Dannys of this world don’t get their paws stuck jumping in or out. The X5 is a mighty machine, in every sense of the word. It drives like a V8, sounds like one too, has every conceivable gismo and has the best reversing camera setup I’ve seen. It has my favourite toy: the heads up display, but with a price tag with options heading towards $140,000 it’s a significant investment. But a popular one in both sales and awards. As Ed says, “it’s the world’s most popular premium sports activity vehicle.” But what happens further down the road? I can remember seeing the Mercedes 500SL when it was launched in 1989 or thereabouts boasting a roll bar that flicked up in a nano second. It was priced towards $300,000 back then, and I wondered how long would I have to wait until prices had fallen far enough for me to buy one. It was 2006 and I picked up a low-k 1991 Jap import for $25,000. It remains one of the best cars I’ve ever owned. I started having a sniff around at dog friendly seven seaters from that period. I’d recently been looking at old European classics for a brother- in-law and a mate and had seen some real crackers. What I found was a 1991 Mercedes Benz 220TE. I would have preferred a six cyclinder but this was super tidy only 92,000ks and had the backward facing rear seats all for under ten grand. I’m a fan of the old school Mercs, pre-computers and built with pride. My brother-in-law eventually bought a fantastic 1991 240E with only 50-odd-thousand k’s. Then the dealers rang and said they had another one, this time a six and my mate fell in love with it. His wife, however, did not fall in love with the lack of air bags despite 72

these being at the time the safest car on the road so he’s elected (diplomatic way of saying “been told”) to wait until a model spec’d with bags turns up. And they are out there. So where am I going with this? And which car does Danny prefer? Well Danny loves all cars regardless. It’s impossible to compare them. Expensive top of the range cars depreciate, it’s a fact of life which means at the lower end you find fantastic vehicles that punch well above their price bracket. But time does move on. The safety features and the reliability of the technology in the X5 are mind boggling. It’s new and it’s current and it conveys a certain image all of which can be important. If you want the cutting edge technology now instead of waiting fifteen years it will cost, although in real terms cars are cheaper now than they were back in the 90s. And then there’s the A to B crowd, who will never understand why someone would spend any serious money on a vehicle. The same people would more likely spend that $10,000 on a second hand Demio (Mazda 2) or Suzuki Swift and they would be getting a reliable runabout. Personally, I would go the old school route and get a reliable old Merc or similar, something with some soul. The A to B’ers though would never never never consider spending more than a hundred thousand and no doubt think people who do are irredeemably wicked. What about the X5 then? I loved the diesel, the seats, the layout. My main niggle was getting into it. I was constantly having to duck my head to get in and could only improve the situation by lowering the seat so much that once in position I had an irresistible urge to wear a baseball cap backwards (and no my head is not too large for the car!). It is what technology has brought us in 2014. You could drive from Wellington to Auckland cossetted in luxury and performance and still take the beast off-road for a bit of distraction. It’s got pedigree. Not unlike the new dog scenario. Robbie, the much missed retriever was, when we got him as a pup from Wainuiomata, a very expensive pedigree. He looked like something off the chocolate box lid but despite that flashy heritage, became a part of our family and we all went into mourning when he went. Danny on the other hand has pedigree in the blood but with those cattle dogs in on the act is now considered a little down-market. But he brings his unique personality to the table. It’s the same with the cars. If you want the best and can afford it buy a new X5. If you can’t but would like a flavour of the pedigree check out the nineties.

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Wake up to this. SECTION HEADER

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B A B Y, B A B Y

LE A N I N OR REC LI N E? BY MELODY THOMAS

and childcare than earlier generations, women still do the majority share, and when women are burning themselves out trying to do too much, the result is fewer women in the workplace, not more. In August last year foreign policy analyst, public commentator and Professor of Politics and International Affairs at Princeton University Anne-Marie Slaughter wrote an op-ed entitled “Why Women Still Can’t Have It All”, following her decision to leave a high-powered job in Washington DC to spend more time with her family. Slaughter said it was time to stop fooling ourselves, and that, “The women who have managed to be both mothers and top professionals are superhuman, rich, or self-employed.” Without a significant cultural shift (and subsequent legislative changes), women cannot be expected to take top positions in similar numbers to men. It might be possible to ‘have it all’, she says, but a lot needs to change first. So in the meantime, what’s a woman to do? Lean In toward professional progress (and away from time with family, friends and self), or Recline and risk being nudged out of the workplace to make room for go-getting up-and-comers? Obviously the answer will depend on the individual but one thing we can all do is just lay off a bit on the ridiculous expectations. Yes - the working mother who finally got the promotion deserves so much respect, but so too does the stay at home mother who throws all her energy, every single day, into raising a tiny human in the best way she knows how. Every time we buy into the notion that women should be able to, as Slaughter puts it, “rise up the ladder as fast as men and also have a family and an active home life (and be thin and beautiful to boot)”, we are not only choosing to ignore the societal factors that created this fairytale, we are actively contributing to their preservation.

ou may have heard of Facebook COO Sheryl Sandberg and her book Lean In: Women, Work and the Will to Lead – a book so popular it spawned an organisation; its title a common catchphrase. If you’re a new parent like me you’re likely reminiscing over that long-gone time when you were able to sit down and read (let’s face it, you’re only reading this because there’s some hope of actually finishing it), so for the uninitiated: Lean In encourages women to rethink the ways they unconsciously take a professional backseat (or ‘Lean Out’), positing that with self-belief, hard work and support from other Lean In’ers, women can claim their rightful place at the top of the boardroom table. The message looks great on paper, but the more I dwell on it the more it irks me. At its core, the Lean In message is a reiteration of the “women can have it all” catch cry. Sandberg asserts that women can be mothers as well as heading major companies, taking seats in houses of Parliament and/or running the school board. And glowing testimonies abound at leanin.org, from women who say that Sandberg’s manifesto really did transform their professional lives. But other stories shine a different light. Earlier this year, law professor at the Georgetown University Law Center Rosa Brooks penned a piece for Foreign Policy in which she called out Sandberg and her Lean In manifesto, urging women instead to to Recline to fight for their right to enjoy “long lunches, afternoon naps, good books and ... slow hours in the La–Z–Boy”. All this leaning in, she says, is only adding to the poisonous tendency in business (and wider life) to honour ubiquity over all else; the culture that expects you to be available on email and cellphone at all hours, and in which the best answer to “How are you?” is “Busy!” Brooks points out that while men today participate far more in housework 75