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But enough retrospective statistics, let’s move forward and go back in time with our World War II themed issue. Guest columnist Saran Anderson writes about the arrival of swing dancing in New Zealand, when the “over paid, over sexed and over here” US military arrived in the country – nylons, chewing gum and records in hand. Our land girls fashion spread draws inspiration from the hardworking women who filled the many vacancies left by conscripted Kiwi soldiers and Te Papa Museum rifles through its extensive archives to reveal a colourful collection of WWII propaganda posters. This issue, we’d also like to welcome aboard new columnists Clarissa Dunn - our theatrical maestro, Debbie Hodder who will be tempting you with delicious home cooking ideas and Mark Roulston – cinematic connoisseur. We’d also like to toast our regular columnists for their fantastic words and images this time round. And finally, we would like to thank you our dear readers – for enjoying our magazine, sharing it with your friends, offering valuable feedback and words of encouragement. We were lucky enough to celebrate with some of you at the Glory Days launch event in February (do check out our party snaps courtesy of Little Death photography), and we hope to meet many more of you at future events.
Rose , Natasha, Claire and Steve
Editor’s Letter Hello and a big, bright welcome to issue two. Following the overwhelmingly positive (and rather humbling) feedback we received for our first issue, we are very excited to present the second instalment of New Zealand’s premier vintage lifestyle magazine. Although we’re vintage lovers at heart, and hope one day to publish Glory Days as a real ‘hold it in your hands and turn the pages’ publication, starting it off in the ether does offer us some interesting and surprising insights. In the three months since we launched, we ‘ve had 27, 354 page views, as well as readers from Australia, America, Ireland, England, Iran and even Brazil (Obrigado pela leitura!), so although we refer to it as a ‘New Zealand’ magazine, it’s exciting to find out that the content has universal appeal.
Remember to ‘like’ Glory Days Magazine on Facebook to keep up to date with what’s going on and if you would like to get in touch and become part of the team, pass on feedback or advertise in future issues email us at editors@glorydaysmagazine.com.
Happy reading! `
, a h s a t a N d n a e s o e r i a R l C 3
THE TEAM EDITORS/publishers
Claire Gormly, Natasha François, Rose Jackson editors@glorydaysmagazine.com
SUB EDITOR Faye Lougher
CONTRIBUTORS
Carlos De Treend, Claire Gormly, Clarissa Dunn,Elizabeth Clarkson, Faye Lougher, Grace La Belle, Kate Arbuthunot, Luke de Large, Leimomi Oakes, Mandy Neugebauer, Mark Roulston, Michelle Parish, Natasha Francois, Melanie Freeman, Rose Jackson, Sarah Lancaster, Sean Joyce, Stephanie Gibson. Saran Anderson
PHOTOGRAPHERS
Elizabeth Clarkson, Kate Arbuthnot, Little Death Photography, Mandi Lynn, Rose Jackson
art director Stephen Templer
DEsigner
make any transgressions. Do get in touch if you feel that your work has not been properly acknowledged and we will right any wrongs.
Nathalie Gregory
PUBLICITY & EVENTS
Natasha François, Rose Jackson
ADVERTISING
Claire Gormly - advertising@glorydaysmagazine.com
Published by glory days publishing ltd. The opinions expressed by the contributors are not necessarily those of the publishers, but we like to encourage different opinions, healthy debate and a variety of ideas at Glory Days. The content and design of this publication is the copyright of Glory Days Publishing Ltd and therefore may not be reproduced in part or whole without permission of the publishers. Having said that, we do love to share so just drop us a line if you would like to feature anything from within the pages of this magazine. Anyone providing material for Glory Days must ensure they acquire permission if necessary before submission. We make every effort to trace copyright holders, but apologise if we
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The editors would like to thank the following people: Everyone who took the time to read our first issue, attend our launch party and pass on feedback, we were overwhelmed with the response! All our fabulous contributors and designers – we could not have done it without you. The New Zealand vintage community – so many talented and enthusiastic people to cover in this magazine, we need twice the amount of pages!
Cover Credits: Photography: Elizabeth Clarkson www.elizabethclarksonphotography.com Photography Assistant: Sean Joyce Styling, Hair and Makeup: Rose Jackson for Decadia www. decadiavintage.com and Claire Gormly for The Vanity Case www.thevanitycase.co.nz
Those familiar with my imagery (under the label ‘the Juice Lab’) will spot the daguerreotype photography and early 1900’s typography influences in my work.
Melanie Freeman My introduction to vintage began as a child, admiring images of my grandmother well-turned-out in gloves, hat and matching bag, and culminated in the purchase of a vintage set of drawers with my paper round money at age 12. My teens introduced me to the wonderful world of op shopping, where I explored the depths of the racks in search of velvets, laces, batik and bright 70s prints to wear to school, and of course be a little different. In my twenties, I became drawn to the silhouettes of the 40s and 50s – and that is where my, as my hubby would say, ‘obsession’ with mid-century design began. In my spare time I blog at http://newvintagenz. blogspot.co.nz/ on topics that inspire me, family life with a newborn, and of course, my passion for vintage.
Best known for my airbrush paintings of pin-up dames and hot-rods, I have recently hung up the palette in order to focus on fiction and vaudevillethemed photography. Chuck Palahniuk, Bret Easton Ellis and the good Dr Hunter S. Thompson have been largely influential for my self-destructive, and often transgressive, style of prose. Among my many eclectic hobbies and interests, I am an avid collector of early scientific instruments, Joker-related collectables, art deco furniture, French wine, vinyl records, Tarantino memorabilia and Hot Wheels die-cast cars.
Leimomi Oakes I am a freelance fashion and textile historian and sewing teacher. I specialise in understanding fashions and textiles, by exploring the historical context in which they were created and recreating the process of making them. I don’t actually think I was born in the wrong era, because living in 2013 means that I can wear 1930s beach pyjamas one day, a 1950s sundress the next, and jeans and a T-shirt the third. I’d actually prefer to wear pre-20th century clothes, but find it too hard to drive a car in stays and a full 18th century robe á la Française.
Carlos de Treend I am a 30-year-old signwriter; born and raised in Hawkes Bay and now residing in Palmerston North. Growing up in Napier, the Art Deco Capital of the World, has been hugely formative to my style of art and photography.
I live in Wellington with seven sewing machines, thousands of metres of fabric, 50-plus pairs of shoes, several trousseaus worth of vintage clothes (which I don’t wear, because wearing vintage clothes destroys them) and glory boxes worth of vintage textiles. My home is shared with my husband and my cat, Felicity.
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Features:
Lifestyle:
Page 22-23: Dancing to a Different Beat: When
Page 30- 31: on your bike: Luke de Large shares
swing dancing arrived on New Zealand shores, it sparked a dance revolution.
some home truths about vintage machinery.
Page 24-25: Provenance: Te Papa’s collection of
Page 29: the dapper gent: Carlos de Treend gets
World War II posters still resonate today.
himself all in a lather.
Page 26-27: From the Footlights: Clarissa Dunn
Page 44-45: Make, Do and Mend: Frames for him
reveals the secret life of a grand Victorian lady, in a new column charting the history of New Zealand’s dance halls and theatres.
Fashion:
and her.
Page 46-47: What’s Cookin’ Good Lookin’: Nothing says late summer like a perfect peach cobbler.
Page 48-49: Hopped Up: Faye Lougher meets a
gentleman who hand-built his replica 1938 Citroen Coupe.
Page 15-20: Land Girls: Our girls do their bit for the war effort, but not before catching the eye of a dashing American soldier...
Page 32-33: People Watching: Snaps from the Glory Days launch party.
Page 34-35: Sizing up Vintage Fashion: Mandy Neugebauer ponders the vexing question of size.
Page 36-37: Fully Fashioned: Wearing the Pants:
For women, the 20th century was really the century of the trouser, says Leimomi Oakes.
Reviews: Page 38-41: This Vintage Town: World famous for more than one reason... Paeroa is also a hotbed of vintage treasure, as Rose Jackson discovers.
Page 50-51: High Fidelity: Meet
Page 42-43: The Beauty Spot: Claire Gormly explains the inexplicable allure of red lipstick.
Hamilton’s raw, no bullshit rockabilly band, The Southern Diplomats.
Page 2: Glory Girl: Miss T Pinups captures Ruby
Page 52-53: The Burlycue Review: Grace La Belle’s
von Rifle going undercover.
highlights from 2012 Burlycon in Seattle.
Page 54-55: CinemaScope: Mark Roulston reviews Edmund Golding’s 1932 classic, Grand Hotel. 6
Page56-58: Net Worth: Melanie Freeman chats with Esme and the Laneway’s Marianne.
Every issue: Page 3: Editor’s letter Page 9: Speak Easy: Your feedback from social media and the blogosphere.
Page 5: Meet the Contributors: We couldn’t exist without them!
PAGE 59: Hot List: Our favourite bits and pieces that we have taken a shine to this issue.
PAGE 10-13: The Scoop: All the news, hot off the wire; event reports, recommendations and reviews.
PAGE 60: The Directory: Your one stop shop for vintage goodness.
PAGE 59: Hot Dates: What to do, with who and when...
PAGE 63: Competition 7
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We love to read your feedback, please drop us a line at editors@glorydaysmagazine.com
From Facebook: Congratulations on a beautiful first issue ladies. Next stop: printed version!! X - Planet Retro
Thanks for a great night. Fantastic launch party! - Saffron Clark Thank you so much for having me perform ladies! Was a lovely event and what a turn out! - Natalie Hugill
AND FROM THE BLOGOSPHERE:
From Pintucks blog: - Josie Stanford “I especially liked the advertisements (those might make you want to put NZ on your next vintage Excellent first edition ladies and gentlemen :) shopping travel stop). Next time you take a break, - Stephen Hebbend-Bach check out this web zine and spend a few minutes taking a closer look.” Very proud of my big sister and her new little venture. Fab launch party Claire....was like stepping From Dashfield Vintage blog: back in time, very very glam! Take a look at the “The first official issue of Glory Days magazine was magazine guys its totally gorgie! celebrated with a hiss and a roar! Burlesque beauties - Jo Gormly shimmied and teased the audience, the DJ had the crowd bopping to everyones favourite rockabilly Loving the mag - wish it could be a printed version I tunes, the bands had us shaking our hips and wow could carry in my purse to brag about! Yay, Malayka did people bring out their best vintage finery! The - cool to see your contributions!! Met her through hair, the make up, the dresses... it was amazing!” her gorgeous vintage hat collection, she knows her stuff! Love love love every part of this mag! From A New Vintage blog: Recommending to all! “I’ve just finished reclining on our couch and reading - Rebecca McNeur New Zealand’s debut Issue of Glory Days, a Vintage lifestyle magazine created by vintage loving dames, Great idea, well executed. Claire , Rose and Natasha and I’m thrilled with the - Gary Steel results and variety of articles featured and now I want to share it with you!” Congratulations - it looks gorgeous! - Claire Regnault From UTBWB blog: “Although this publication has a few quirks that at Thanks for a neat write up about our 57 Chev first seemed mildly annoying (layout has room for - Pete Staples improvement, some of the links are a bit dicky, I don’t like serif font, that sort of thing), the concept What an awesome mag! Not to mention my beautiful of Glory Days is just lovely; and upon reflection, neice Jessica is in it! Glad you are on face book so the annoyances become part of it’s charm those of us not in NZ can read it too! Great Job! it is real, a little rough around the edges, - Natalie Ruthe very ‘New Zealand’. What a FANTASTIC idea. Well done!
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JUST MY
CUP OF TEA
Making Making
Splash aa Splash Wanganui didn’t know what hit it when the Glory Days team descended on the beautiful riverside town and hosted the inaugural Bathing Beau and Belle Contest as part of the Wanganui Vintage Weekend. While most of the crowd was a little reticent to get in their smalls and strut the stage, they gave those brave entrants who did don vintage bathing suits their full support! Congratulations to David from Wanganui and Kirsten from Wellington who took out the Beau and Belle titles. They were lucky enough to win a custom made swimsuit from Swanwear Swimwear and beauty products from Decadia and The Vanity Case. Well done also to the gorgeous ladies from Whanganui Regional Museum, who took out the Glory Days sponsored Best Dressed Retailer prize! The Wanganui Vintage Weekend 2014 runs from Saturday 18th to Monday 20th January. For further information visit www.vintageweekend.co.nz Rose Jackson
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Recently my friends and I enjoyed high tea at Nostalgia (formerly Prohibition), the 1930s style restaurant in Ponsonby, Auckland . Their high tea consists of two teas and a wide variety of treat choices - ranging from ciabatta with bacon and scones, to miniature crème brulée. Despite the mouth-watering fare on offer, there was more than enough to go around, and as it was my birthday, I was also treated to an amazing chocolate sculpture and strawberries decorated like tuxedos. The décor of the Brick Room is fabulous with chandeliers, hunting style pictures and velvet tablecloths. After our meals, we explored the other two rooms which were equally opulent – the Red Room boasts plush armchairs and shaded lamps and would be ideal for a small gathering of 20-25 people. Upstairs are beautiful bathrooms and the larger library room, which would be perfect for a larger gathering of up to 40 people. The staff were very friendly and obliging and they helped make it a wonderful experience– one I would recommend to all vintage lovers. High Tea at Nostalgia ranges from $34 to $58, and a gluten free option is available. Bookings recommended. For more details, visit www.nostalgia.net.nz. Fran Wells
JUKE BOX
JIVE
When driving along Avalon Drive, Hamilton, you can’t help but be drawn in by the 13 metre high replica Wurlitzer juke box, beckoning you to come and investigate. Drive around the corner and you will find local businessman Tom Andrews’ Classics Museum, which houses his personal collection of over 100 classic cars as well as extensive petrol memorabilia, complemented by an authentic 1950s diner. The opening day on December 2nd was awash with classic car clubs displaying their pride and joy, entertainment including live music from The Southern Diplomats and a 1950s fashion show put on by the Bombshell Beauties.
Families and fifties enthusiasts turned up en masse and made their way around the outdoor area, enjoying the entertainment and exploring the museum before heading into the Jukebox diner featuring pictures of Elvis on the wall and the entire staff dressed up in 50s style diner dress and aprons by Brigette Boop Couture - for a meal. We highly recommend the milkshakes and French toast! To get yourself a slice of 50s motoring life, go to www.classicsmuseum.co.nz Melanie Freeman
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WAR BIRD WEEKEND pr in t d e s i g n p h o t o g rap h y i l l u s t rat i o n an d m o r e natha li e . p.m.gr ego ry @gmai l .c o m
New Zealand is a warbird enthusiast’s heaven. Here, we are fortunate to have three highlyrespected major events on the local aviation calendar; The Warbirds Over Wanaka International Air Show, Classic Fighters Air Show, and the biennial airshow Wings Over Wairarapa. This year was the eighth WOW airshow and therefore tickets made an ideal Christmas gift for my beloved - an avid warbird nut.
The guest star – a feature display aircraft we had seen fly in the Waikato late last year, on several occasions - was the rare de Havilland Mosquito Fighter Bomber. The Mosquito FB.26 KA114 is the only one that is still flying in the world. Affectionately known as “The Wooden Wonder”, it first flew in November 1940, and was faster than the Spitfire. With a top speed of over 400 mph powered by twin Merlin engines, this dramatically shortened bombing missions and reduced risk to pilots. Its versatility meant it was also used for day-time tactical bombing, high altitude night bombing and photo-reconnaissance. Produced in huge factories, around 6000 Mosquitos rolled off the British production line; others were built in 12
Canada and Australia. Around 80 ended up in New Zealand and were used by the RNZAF. Once set up with deck chairs and a picnic you settle into the day of flying with over 70 aircraft on display. What is so great about the show is how intimate you can get with the aircraft. Sitting in 30 degree heat on the Masterton airfield with a Mustang parked up in front of you ready to taxi off is certainly a surreal experience.
Of course the major coup this year was the a once-in-alifetime chance to witness a rare Mosquito flying low and fast. I will never forget looking to the peaceful blue skies on that very hot Masterton Sunday listening to the beautiful hum of the Merlin engines with Churchill’s voice being piped out across the PA to the crowd as the moving finale fly-past of the amazing Mosquito accompanied by two Spitfires and a Mustang, in formation. To keep up to date with future Warbird events, visit www.nzwarbirds.org.nz Michelle Parish
Other spectacular formation aerobatics were from the display teams of the Harvard aerobatic team, the “Roaring Forties” and the ex-Soviet Yak 52 trainers . Other delights were two Spitfires, the WWI DH5 scout fighter, a Gypsy Moth, Fox Moth and Tiger Moth that took to the sky. As well as celebrating the historical significance of WWI & WWII military aircraft, there were appearances from other rarelyseen vintage aircraft, agricultural, gliding and helicopter displays, jet formations and thrilling aerobatics as well as substantial participation from the RNZAF. The flying culminated in a visual account of a mock air field attack complete with booming pyrotechnics lighting the blue skies and wowing the 30,000-strong crowd. 13
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Photography: Elizabeth Clarkson Photography - www.elizabethclarkson.com Photography Assistant: Sean Joyce Styling, Hair and Makeup: Rose Jackson for Decadia www.decadiavintage.com and Claire Gormly for The Vanity Case www.thevanitycase.co.nz Models: Ben, Ella and Mel
Head scarves - Rita Sue www.ritasue.co.nz Slips and gowns - Pearl www.pearlculture.co.nz
Bed socks and hand knitted slippers The Salvation Army Family Store www.salvationarmy.org.nz/giving-back/family-stores/
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Cream knitted cardigan – Decadia www.decadiavintage.com
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All other clothing - Pearl www.pearlculture.co.nz
All clothing - Pearl www.pearlculture.co.nz Uniform – Bruce Stewart Military Costume
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Snood and cardigans - Rita Sue www.ritasue.co.nz Trousers – Cherry Bishop www.cherrybishop.co.nz
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Shoes – Minnie Cooper www.minniecooper.co.nz
Hair flower - Rita Sue www.ritasue.co.nz
Uniform – Bruce Stewart Military Costume
Dresses - Cherry Bishop www.cherrybishop.co.nz/
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Dresses - Cherry Bishop www.cherrybishop.co.nz
Seamed stockings – Rita Sue www.ritasue.co.nz
Fur cape – Decadia www.decadiavintage.com
Shoes – Minie Cooper www.minniecooper.co.nz
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By Saran Goldie-Anderson In September 1939, New Zealanders were once again plunged into the uncertain realities of war. World War I, believed at the time to be “the war to end all wars” was still immediate and painful history for a small country which had sent a tenth of its population to fight, and lost more men than it welcomed home. The early years of the Second World War were coloured by farewells, fear and few comforts for those remaining in New Zealand. Dances at the time were a far cry from the lively cabarets and dance halls of the ragtime craze just a few years earlier, becoming poignant affairs as lovers said their goodbyes and the number of young men dwindled.While many volunteered, thousands of men were called up for service when conscription began the following year, leaving their families and sweethearts behind. Men who remained to work in essential industries were stretched thin to cover the many vacancies left by soldiers. With more jobs to fill than men to fill them, new government regulations brought women into the workforce en masse for the first time, often to work unforgiving jobs for less pay. Workers weren’t the only thing in short supply, and luxuries dried up as rationing came into effect. By 1942, New Zealand men and women were adjusting to the harsh new reality of a world at war, when another international influence unexpectedly shook it all up again. 22
June 1942 saw the arrival of thousands of American servicemen en route to defend the Pacific. Suddenly the grim wartime atmosphere had an influx of young, charming men in uniform. The U.S. Marines and soldiers brought swing music and the desire to dance but found few opportunities in the austere society of wartime New Zealand. Naturally, they created their own. Regular dances were held at Red Cross clubrooms and many units had their own bands. Wartime Service Clubs held nightly dances for the servicemen, but invited only “respectable” girls to attend. For those who were not deemed suitable (or not so interested in the wholesome club events) the cabarets were once again doing a booming trade, with unchaperoned dances being held nearly every night of the week.
The dance they brought was the controversial Lindy Hop or “Jitterbug”; a high energy fast dance with whirling figures and tight swing rhythms – very different from the more formal foxtrot, tango, and waltz that had graced New Zealand dance floors until then. Dancers leapt and spun, skirts flew in all directions and the atmosphere was wild and electric both on and off the dance floor. The American lads were literally sweeping New Zealand women off their feet with their generous gifts and dancing feet. The
attention was not only a novelty for women more accustomed to the gruff New Zealand blokes, but a welcome distraction from the hard work, loneliness and worries of war. The growing obsession with the charming Americans did not go unnoticed, however. Newspapers moralised about the influence the liquor and wild dancing would have on young women. Tensions between American and local men rumbled beneath the surface, and fights broke out in and around dance halls. The British description of their American allies “over paid, over sexed and over here” - was echoed on New Zealand shores, giving voice to the resentment aimed at these men captivating the local girls while New Zealanders fought for their country. While some women married and left for America, for most the “American invasion” was only welcome wartime interlude which ended as quickly as it began. As the New Zealand men returned home, signs appeared on dance halls and in newspapers proclaiming the jitterbug out of date and no longer welcome in many establishments. The dance was seen as a relic of war, and the war was finally over. The Americans were gone, and New Zealand men needed to return to a social scene they still recognised, dances they could dance, and an enthusiastic welcome home. Despite post-war morale concerns the Jitterbug never truly died, and a worldwide revival of the dance form kicked off in the 1980s. New Zealand now has an active scene of Lindy Hoppers cultivating the spirit of the dance that probably swept their grandmothers off their feet. Want to learn some swingin’ moves and cut a rug on the dancefloor? To find a swing dancing school in your area, click here: https://www.facebook.com/groups/ ausandnzswidoc/10150203603268005/. 23
PROVENANCE
WAR POSTING By Stephanie Gibson
Curator History,Museum of New Zealand Te Papa Tongarewa Providing flashes of intense colour in towns and cities throughout New Zealand during World War II (1939– 45), war posters were bold and emotional works of graphic art with a serious purpose – to recruit soldiers and labour, to raise money, to disseminate information and warnings, to increase production, to identify enemy weapons, and to instruct civilians to conserve supplies, recycle and prevent waste. They played an important role as intermediaries between the government and the public, particularly in the early recruitment drives for the armed services, and in the money-raising campaigns that became a regular feature of life until the end of the war. They also ‘cheered up’ and ‘brightened’ many a wall, shop window, railway station, theatre lobby, office, factory, schoolroom and mess hall. Their emotionally charged messages and heroic images kept the struggle before the public eye, and still resonate today.
‘We can’t win with bare hands!’ late 1940/early 1941 (by B.E. Pike, New Zealand. Gift of Mr C.H. Andrews, 1967, Te Papa, GH016280) Posters created in support of war are essentially political propaganda. Propaganda is an inescapable part of war and society, and is a process whereby information is communicated in a deliberate and systematic attempt 24
to shape perceptions and direct behaviour. Even though the term is neutral in origin, ‘propaganda’ had gained negative connotations by World War II and was usually associated with the enemy. During the war, hundreds of propaganda posters were constantly on display throughout New Zealand and thousands of people saw them. Allied governments sent their posters to inspire each other’s populations and to share ideas for publicity. Private citizens amassed collections and organised public displays. Schoolchildren decorated their classrooms with them. Soldiers cheered up their mess halls. Shops and businesses devoted valuable street-front windows to patriotic displays. Displaying posters was seen as a way to contribute to the war effort, and for many it helped to create a ‘war-like’ atmosphere in a country far away from the theatres of war.
‘Duty Calls the Youth of New Zealand’, mid-1942 (printed by C.M. Banks Ltd, Wellington. Gift of Mr C.H. Andrews, 1967, Te Papa, GH014037) New Zealand-made World War II posters echoed the thousands being designed and distributed elsewhere in the world by most countries involved in the conflict. Te Papa holds about 30 posters designed in New Zealand. In general, New Zealand’s war posters tended to be single-sheet and comparatively small in size (in contrast to the large 24-sheet billboard posters used
for commercial advertising). This may have been due to paper shortages, but it may also have been a ploy to gain notice. For example, the Railways Department displayed war posters on independent notice boards inside train stations away from the commercial hoardings outside its stations. New Zealand’s World War II posters were based mainly on hand-drawn or hand-painted illustrations rather than photographs. Many of these posters are populated by wholesome-looking soldiers and citizens of all ages, exhorting their fellow New Zealanders to fulfil their obligations to the state, by participating either financially or physically. No one escaped this visual ‘call to arms’ – young boys, women and older men were all targeted to contribute. New Zealand-made war posters were valued by enough people during World War II, and since, for copies to have survived and made their way into museums, archives and private collections throughout the country and overseas. Te Papa still collects examples whenever the opportunity arises– it now holds over 500 World War II propaganda posters from Britain, Canada, the United States, Australia and New Zealand.
‘Who Me? Yes!’, June 1943 (by F.R.A.; printed by C.M. Banks Ltd, Wellington; issued by the National War Savings Office, Wellington. Gift of Mr C.H. Andrews, 1967, Te Papa, GH014045)
Poster, ‘Army Week’, June 1943 (possibly by Albert James O’Dea (1916–86, New Zealand); issued by the New Zealand National Savings Committee, Welington. Gift of Mr C.H. Andrews, 1967, Te Papa, GH014042) ‘He Offers His Life!’, June 1943 (printed by C.M. Banks Ltd, Wellington; issued by the National War Savings Office, Wellington. Gift of Mr C.H. Andrews, 1967, Te Papa, GH014040)
See more posters on Collections Online: http://collections.tepapa.govt.nz/” 25
Mark Brimblecombe – Photographer
Publicity photos on backstage cupboards
FROM THE FOOTLIGHTS
By Clarissa Dunn
Mark Brimblecombe – Photographer
THE SECRET LIFE OF A GRAND VICTORIAN LADY: BACKSTAGE AT THE ROYAL
WANGANUI OPERA HOUSE. If you’re a vintage bargain hunter, you’ll understand the thrill of anticipation. That’s what I feel whenever I enter a theatre, and in a historic theatre the experience seems even richer. You can almost sense the accumulation of shared experience; the energy of the all the people who have laughed, cried, and maybe even died there.
The Royal Wanganui Opera House as it appears today. Its foundation stone was laid in 1899 and it opened in 1900.
And people have indeed died at the Royal Wanganui Opera House. One, a former custodian called Frank, is still around. He’s a friendly, but somewhat mischievous presence who likes to tinker backstage. When there’s a technical glitch, a common saying is “it must have been Frank”.
John’s devoted over 30 years –all of his working life - to this theatre. He is number nine in a line of custodians / managers stretching back to 1900; the year the Opera House opened. In the bad old days, the custodians used to bunk down in a cold, dark flat attached to the back of the theatre and sometimes shared the small space with their families.
Of course, I love the stories played out onstage, but sometimes the most intriguing are found backstage and that’s where I headed with John Richardson, manager of the Opera House.
The theatre was designed by Wellington architect George Stevenson. Tragically he never saw his design built because he fell ill and died on the day the foundation stone was laid.
English Actress Emelie Polini appearing on the cover of a 1919 pamphlet announcing when the plays “De Luxe Annie” and “Eyes of Youth” will be performed at the Opera House, Wanganui. Wanganui Regional Museum ref: 1956.136.
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The Hill St site was chosen in 1897 when a local councilor suggested land be set-aside to celebrate the ‘record reign’ of Queen Victoria. The site was close to the railway yards and wharves –perfect for the transportation of touring company scenery and luggage. Unfortunately it was a half a block away from the nearest hotel for interval drinks. A pinch of Kiwi ingenuity solved this inconvenience by installing an electric bell in the bar of the Criterion Hotel. When the stage manager rang the bell, patrons knew they
had three minutes to scramble back to their seats before the curtain rose on the second half. Since the Opera House opened, it has catered for the changing tastes of the community; from the magic lantern shows of the early 20th century to moving pictures; from the daring feats of the acrobatic troupe The Flying Delevines to wrestling and boxing matches. The rest of the miscellany includes operas, public lectures, baby contests, marathon piano recitals, dancing, and wool sales. It’s also hosted the Chum’s Club for children, the NZ game show It’s In the Bag and even royal visitors. In 1921, the stall seating was modified to accommodate the grand procession of Edward, Prince of Wales (later King Edward VIII) and almost seventy years later Prince Edward, Earl of Wessex paid a visit too. Prince Edward, who was tutoring at Wanganui Collegiate, trod the Matai boards playing a role in a collegiate production. A man of the theatre, he became the patron of the Opera House in 1990. Nine years later, for the centennial celebrations a royal charter was given to the Opera House and it became known as the Royal Wanganui Opera House. In 1996 the Historic Places Trust awarded the Royal Wanganui Opera House a category one grading – classifying it as one of New Zealand’s most significant buildings.
Leigh Mitchell-Anyon Photographer Ltd (Royal Wanganui Opera House collection).
This beautiful wooden building is the only Victorian-style theatre in New Zealand; the first municipal opera house in the southern hemisphere; and the first in New Zealand to use electric lights. After complaints about the sound in the first decade of its existence, the building contractor hired an expert to check that the acoustics were suitable for music and speech. The acoustics are lovely. I sang a few bars of an aria onstage (it is an ‘opera’ house after all) and felt sad that I’ve never sung on this stage, at least not yet. (I spied a magnificent Steinway concert grand piano on prompt side of the stage just begging to be used).
Credit: Wanganui Regional Museum collection
This view of the proscenium shows one of the original ‘stock’ or sets painted by Neville Thornton - the most successful scenic artist of the time. This view is of Lake Lucerne from his homeland Switzerland. I hoped this might be tucked away in a basement but these sets have long since vanished. Despite the gradual infiltration and convenience of modern technology, theatre people, like vintage scavengers, are born hoarders and fantastic recyclers. I was shown a TV in the basement– a 1980s model that still works and is used in the internal AV unit as a backstage monitor. The electrics room is like a museum for the evolution of lighting. Most of the stage lamps are vintage. They go back to pattern 123 developed specifically by Rank Strand for the London premiere of My Fair Lady in 1958. The lamps are all in working order and most are still used during the year. In the 1990s when the Matai stage floor needed replacing, the theatre was gifted a stand of Matai trees. These were felled and dried naturally over a year before volunteers laid the tongue and groove boards. The old floor was recycled and is now the floor of the Wanganui Riverboat Museum. It’s a credit to a community when a historic theatre can maintain a functioning environment. Too many fall by the wayside and are demolished. Ultimately it’s the community who determine the value of these buildings by using and maintaining them. The Opera House is blessed to have a supportive and active ‘Friends’ group, and as far as they and manager John Richardson are concerned, the Royal Wanganui Opera House is here to stay. The Royal Wanganui Opera House can be hired for all sorts of events and functions. http://www.royaloperahouse.co.nz/ venue-hire/about-booking-the-opera-house Clarissa Dunn is a presenter on Radio NZ Concert, a professional opera singer, a swing dancer and a marriage celebrant. She also loves cycling and creating theatrical events. She is renowned for her original, operatic-scale murder mystery parties. www.clarissadunn.com
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By Carlos de Treend It was always the smallest and hardest-won pleasures that captivated the heart.A secluded shady spot under a light gathering of olive trees. The ever-so-slight-yet-tantalising scent of a neighbouring but forbidden Maltese orange grove, carried by an equally ever-so-slight-yet-tantalising breeze. The satisfying weighted heft of a warm but quarterfull water canteen. An entire five minutes of rec time. You deftly remove a Gillette straight razor from a right pocket. Cradling it gently in your hand, you feel its weight in your right palm as you loft it lightly into the air, flip it over a few times and read your name etched in its dulled Bakelite handle. You open and extend the blade carefully, hearing the home click as it snaps into position and catches the reflected rays of the Tunisian sun piercing through the gap in the olive branch rafters, like a magpie fawning over a dime. Your left hand rises automatically to your face and your run your hands for the last time across the smattered stubble of your cheeks, neck and jawline. Using the tip of your blade you delicately slice off a small corner of your rationed soap bar, pour a few fat warm drops of water from your canteen flask into your palm and lather a smooth milky paste. These delicious few seconds are the most precious and sacred. The self-serving escapist pleasure is simply unmatched.
photo credit: Rowdy Le Beau
For these five precious minutes, the duration of your mastery of your own destiny, there is nothing in this world more powerful nor just and true than your straight blade. While you slather the paste onto your jaw and neck, your fallen brothers are no longer left behind. As you rub the cream into your face, you are no longer in a foreign land, your home so many impossible miles away. The softened beginnings of a moustache, no match for the whetted sheer of pulverised steel against skin. You forget that your sweetheart hasn’t replied to your last five letters. Every lashing stroke seems to rinse away the pain of feeling lost, forgotten and undernourished. It no longer matters that your next meal ration will be even smaller than the last. Each defining graze and glide cuts away the tethers of sorrow and hurt, fatigue and anguish. As you wipe away the flecks of the drying soap using your sleeve, your face becomes that of a stronger and calmer man. You can now face the day with a sharper resolve and defined attitude. You return to base camp a newer and refined version of yourself. Keep Calm and Carry on Shaving. 29
By Luke de Large So you’ve got yourself a vintage piece of machinery? There comes a time when your project is finished – the long hours of blood, sweat and swearing (no tears, remember men don’t cry) have finally paid off and your restoration project seems to be nearing its final moments. Now step back and remember the beginning – picking up a trailer full of boxes and bits that, to the untrained eye, would have been a good candidate for the scrap yard. Coming home was likely to see the first of oh so many times when your partner had rolled her eyes and disappeared with a sigh. It seems like just a distant memory when you began to dig through the boxes, started to clean and sort – realising that half of the necessary parts were missing. Then there was the period of endless sessions on the computer to source these missing links (literally), and the joy of early morning DHL deliveries with yet another parcel from overseas (did we mention your partner sighing before?). 30
Family commitments came second to swap meets and chat rooms, searching for that elusive part. The attempt to involve your better half by letting her help with the decision on the colour would have nearly ended in divorce… But all this is now in the past – it is done – it is ready! Well, at least that is what you think, especially if it is your first project. Let me tell you a fact: your project is never ready – never done … there will always be a reason to tinker, repair, modify, repair again... and tinker again. It doesn’t matter if you did the final touches on the dashboard of a vintage car, or finished the last chrome polish on a classic motorbike or scooter, there will always be something more to do. The amount of future spanner time on a project is directly related to one of the two categories you will fall into: there are those who own – and those who drive/ride. If you are the latter, you can count yourself lucky – as you have set yourself up to go through this insatiable
cycle in the garage again and again. Because you are using your machine, you will encounter wear and tear, little nicks - or even major blow-outs - but you have the satisfaction of bringing your vehicle back to its true life and purpose. Take, for example, the owners/riders of vintage motorcycles. They meet at events like the Triumph Classic Festival and get into their leathers, some of which seem to be as old as their bikes. Then they do what their bikes were designed and built for forty, fifty and sixty or more years ago. They start them up, give them a good handful with the accelerator, and hit the race track. Not for a careful demonstration concourse and to show them off to the spectators, but for an engine-roaring competitive and serious race (pictures taken at the 2013 event). It is a joy to watch them stepping all the way back into history – the ‘Glory Days’ for them are those weekends in summer when they can finally put the hammer down. And yes, sometimes there is an engine blow-out – or even a crash on the track. Then you hear the collective gasp from the spectators who can identify with the owner/builder of the machine… knowing full well that he will have a good reason to disappear into his man cave again and fix it …. in time for the next track day. Questions or feedback for Luke? Drop us a line at glorydaysmagazine@gmail.com 31
People Watching
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Photography - Little Death Photograper - James Yang Little Death Photography specialises in unique event photography and can provide clients with extra exposure through our style posts. For more information, contact sean@littledeath.co.nz and let us liven up your event with a Little Death.
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By Mandy Neugebauer Were we really once miniature and petite versions of what we are today? Well what happened then? Why are old shoes so small? Most real vintage dresses I find have small waists – why is this? Where has all the vintage gone that is my size? It will happen to us all. Whether you are new to vintage hunting, or have loved it all your life, it's likely that at some stage you will look at your ideal 1950s party frock and ponder “why is it so small?”. If you are lucky enough to have a mother who grew up in the 40s or 50s who actually kept some of her clothes (a rare occurrence indeed!), you will have most certainly heard her say:“to think – I used to fit that…” spoken with longing in her voice. Naturally, we look at the dress, back at our mother, then back at the dress, mentally trying to squeeze her into it. Then we look at ourselves and wonder how we missed the bus! There is a gap in there somewhere– that moment when the dress should have fitted us. Ok, breathe. If you have had this experience, as I have, it can be quite an ordeal. So take a moment to regroup. I will not only shed some light on the enigma of the tiny dress, I will also offer some comfort and solutions. It was only once I started talking to ladies who actually wore vintage clothes when they were new, that I started to discover the mystery of the pixiesized waist. The biggest revelation was something that we take for granted, and maybe even some of your parents did too. The invention of the teenager! It was only in the late 50s that teens were recognised as a different thinking, behaving and dressing stage of development. This teen revolution coincided with many things, the most notable being music. Around music came fashion, magazines, new social behaviours – and rebellion. Boundaries were pushed, scenes 34
developed... and it has been snowballing to this very day. Some may even say that the time one spends being a teenager is getting longer and longer and in the 21st century it seems to be starting sooner and ending much later. But I digress, back to our beloved tiny dresses! Before the late 1950s, you dressed as a girl until you came of age. After that, you were expected to dress, and act, as a lady. There was no transition from little girl to lady. BAM! Suddenly you were thrust into a girdle and started your journey to look for a husband. No more playing with dolls and wearing cute clothes. No, you started the dance hall circuit! Every week there would be a ball, dinner or dance to go to, and it was a time to show that you were ready for dating. So, you would wear sophisticated, tailored dresses, accessorised with little hats or hairpieces, gloves and matching shoes and bags. This social scene was all encompassing. Everything was time-consuming. Washing your hair sometimes meant setting it the night before. Hence the seemingly old fashioned excuse “I can’t tonight – I’m washing my hair”. Even getting into your girdle or corset, control panties, stockings and bullet bra could set you back a good 45 minutes. It was all suck this in, flatten that out, make this curvy – all the while trying to make it look effortless, like the smiling ladies in the magazine ads. Comfort is something we take for granted today. Getting those tiny figures into those even tinier dresses is an experience most of us never have. The biggest moan you will hear from women today is about control garments used by celebrities, or bras with names like a disappointed sigh. We have chosen comfort over all these days, and our modern figures are the proof. Today’s undergarments are no more than glorified Lycra compared to what your mother or nanna had to wear as a girl, and she would have worn them for many years. Starting to make sense now? For some girls, this would start as early as 14, others up to 16. Think of what a girl’s figure is like at that age! Now stop beating yourself up, because today at your age and loving vintage, you don’t fit into teenagers’ clothes! She probably had to walk everywhere as well, food was less processed, and washing was done by hand. The speed of evolution over the last 60 years is visible everywhere, but mostly in ourselves.
Here is another example of how different life was. Have you ever worn a dress or shirt that has buttons on the back? How hilarious do you look trying to do them up? Well back when these designs were in fashion, a woman was never expected to live alone. Young ladies would live with their family, until they had romanced themselves a husband who could carry them over the threshold of their new home. It would then be his duty to zip or button his wife into her clothes. Again, independence and solo living are modern concepts, and you would have been labelled a spinster if you were alone once you left home! So now, hopefully, you have comfort in the fact there is nothing wrong with you. Many of the dresses we desire now, were simply worn at a much younger age than we do today. There are expert local tailors who can refit, or even recreate a vintage piece that is too small. And if you need instant gratification, we are only a mouse click away from a whole universe of modern-sized reproductions of some of the most classic and elegant dresses ever made! 35
By Leimomi Oakes The phrase 'vintage fashion' instantly brings to mind the full-skirted, ultra-feminine look, but for women the 20th century was really the century of the trouser; they went from scandalous, to avant-garde, to acceptable, to unexceptional, until they finally became the norm for female dress.
At the dawn of the 20th century, loose bloomers were already common for bicycling and sports, and 'rational' dress reformers advocated their use 36
for everyday wear, hinting at their impending sartorial rise. A satirical poem published in New Zealand newspapers in 1899 prophesied that “The 20th century girl...[would be]unafraid, bifurcated, unlaced...wear bloomers as a matter of course...� Fashion took the poet at his word, and in 1911 designers like Paul Poiret introduced wide-legged 'dress pants', 'skirt pants' worn under long tunics, and full harem skirts which gathered at the ankles. The public wasn't quite ready for these innovations: their appearance at events caused riots, and some wealthy fashionistas requested police protection while wearing them. Only World War I brought a modicum of acceptability when women adopted trousers and one-piece boiler suits for war work. In the years of stylistic decadence that followed WWI, women were loath to give up their newfound sartorial freedom, and some women found that the rising hemlines revealed ankles and calves they would rather hide. The answer to this was beach pyjamas. Loose, flowing, brightly coloured, flattering on many shapes, beach pyjamas were
adopted by all levels of society, and appeared on beaches and boardwalks from Auckland to the Cote d'Azur. In ink blue jersey by Chanel or white wool by Hermes, they were worn on city streets by boyish garconnés. Made in glamourous silks they could even be worn for evening dances. By 1930 the world economy has crashed and the life of leisure that pyjama pants represented was out. The ‘charming sport of doing nothing’ was replaced by actual sports, pyjama pants by pleated shorts for tennis and walking, johdpurs for riding, knickerbockers for golf, trousers for skiing. Shorts made the transition to everyday wear, and in 1934 fashion magazines reassured readers that “irreproachable mothers walk their children and do their shopping in stores wearing shorts”. Shorts for everyday wear, however, were the provenance of the slim and leggy, and while Hollywood actresses like Marlene Dietrich and Katherine Hepburn flaunted trousers, the look was still too risqué for the average woman. Only another war could bring divided legs to the masses, and World War II required masses of women to lend a hand. During WWI women were called to war duty only as a last resort. Officially, their role was still to be pretty, feminine reminders of what the men were fighting for. During World War II women's work in munitions factories and on farms, and the practical outfits they wore to carry out these jobs, were celebrated. Even women not engaged in jobs that required them to wear pants soon found themselves in divided bottoms. In London women bought warm one-piece 'shelter suits' which quickly zipped over pyjamas during an air raid. Overalls facilitated work in 'Victory Gardens'. With petrol rationed, bicycles replaced cars, and the practicality of trousers for bike riding outweighed old-fashioned ideas of propriety. Not everyone, however, was entirely convinced of the propriety of trousers. As a young woman in
Dunedin in the late 1940s, Gran was allowed to wear shorts for bicycling and sports, but her father forbade her to wear trousers, particularly for her work at a library. Wearing trousers when you could wear a skirt was a step too far. Whatever his generation thought, Gran's generation had grown up bifurcated, and they weren't about to give up that freedom at their parents, or Dior's, command. After her marriage Gran wore the previously taboo trousers. When the full-skirted, feminine New Look prevailed, 50’s trousers and shorts kept with the aesthetic through a slimmer fit that emphasised full hips and a narrow waist. Later in the decade Audrey Hepburn epitomised the gamine look in her capris. By the late 1960s pants could be worn for work or weddings. Along with bifurcation, our turn-of-the-century poet predicted we would not “bother with fashion or clothes”. There he lacked prescience!
Bifurcate your vintage look with these tips: 1920s – try draping pants in stripes, geometrics, or florals paired with knit singlets or backless halters. 1930s – pleated shorts and one-piece playsuits in neutrals and nautical colours are perfect for sports, and shopping. 1940s – channel Dietrich in loose, high-waisted pants with pleats and cuffs, or give a nod to Land Girls in wide jeans (dungarees) and belted overalls. 1950s – keep your shorts, pants and capris highwaisted, very fitted, and with minimal pockets. Pair them with a snug tucked-in sweater top, flat shoes, and a ponytail and scarf.
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PAEROA By Rose Jackson Although Paeroa is world famous in New Zealand for its effervescent lemon-flavoured drink, it is also dubbed “The Antique Town of New Zealand” - a claim Glory Days just had to investigate...
This is the place to visit if you want to find a welledited collection of clothing, accessories and jewellery from the 1920s to 1980s. It’s neat as a pin and the well-displayed wares are given the breathing room they deserve.
Carole has owned the store for the last six years, and sources her stock from America, England and Australia. 50s dresses are by far her most popular item, but gents, don’t fret, there are plenty of quality threads for you as well. Carole loves helping The majority of Paeroa’s secondhand shops are on the customers find an outfit that makes them smile and main street. If you can, visit Paeroa during the week leave her store knowing no one else will be wearing as some stores don’t open over the weekend and there the same thing. is nothing more dissapointing than seeing a beautiful treasure behind a big heavy door with a CLOSED sign in the window. Also, like many small town stores they have short opening hours, so it calls for decisive and focused retail therapy! 38
By this time you will need sustenance - a person can only survive on the high from a coveted vintage purchase for so long.
THE COURTYARD CAFE 72 Normanby Rd open Monday to Saturday
TIME TRAVELLER - 15 Belmont Rd Ph 07 862 7750 A treasure trove of cowboy boots, polyester dresses, bright kitchenalia, lucite handbags, art glass, tools, interesting reads and retro swimsuits. If you want to channel your inner Clint Eastwood or Fillmore Slim through your footwear, this is the place to visit. Women’s clothing ranges from 1930s silk tap pants to 1980s bedazzled gowns, with an emphasis on loud 60s and 70s prints. Stay on this side of the road and as you walk up the main drag check out the Salvation Army (which is sadly closed on the weekend!), look up at the beautiful stained glass shop windows and take a moment to contemplate the very poignant mural next to the RSA.
The best cafe in town according to many of the retailers, and I have to agree. Delicious fresh salads, nice vegetarian and meaty options, a decent selection of drinks (although when one is in Paeroa, one should only drink L&P surely?) and – the ultimate mark of a good cafe – a doorstop sized homemade caramel slice. True to their name, they have a courtyard out the back of the cafe, that even on a drizzly day, was pleasant to eat and gossip in. Energy restored, exit the cafe and turn left. If you feel the need for a postlunch constitutional, walk 500m up the road and have your photo taken “holding” the giant bottle of L&P that the town is so famous for. It’s a little underwhelming to be honest – imagine how much more fun it would be if it was actually bubbling... kinetic sculptors take note! 39
JUNK AND DISORDERLY,
Open 10am – 3pm, 7 days a week. Ph 02102321001
PANDORAS CLOSET
When a secondhand store is large enough to house a windmill, you know you’ll have a good chance of scoring some choice finds. On the surface, there is quite a lot of newness which can be off-putting, but dig deeper and you’ll be rewarded.
86 Normanby Rd, Ph 0212132204 As it says in their ad, this is mainly for the ladies, and is one of those shops that you will either find nothing or the perfect thing, depending on which day you visit. There’s also a great assortment of collectibles and nick nacks.
ARKWRIGHTS ANTIQUES 32 Belmont Rd Open 10am – 5pm 7 days a week. Ph 07 8626898
Every conceivable surface, shelf, display unit and stand is smothered in an overwhelming selection of
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antiques and collectibles. You could easily spend the whole day in this store and still not see everything. Looking for an accordion? Arkwrights can help. Looking for Pyrethro Fly Killer? Arkwrights can help. Looking for Wombles figurines? Well, you get the picture...
THE DEPOT 24 Belmont Rd. Ph 07 862 6080
More spaciously laid out than many of the other stores, The Depot gives you the sense you are wandering around someone’s house, but everything happens to be for sale. This is probably because the space within the store is rented out to separate vendors, so each area is made to feel ‘room like’ and the collection of goods within has a particular theme. A good place to visit if you are after large furniture, or small ornaments. Like all good houses, The Depot comes complete with cat. Make sure you give Moggy a pat while doing the rounds.
GRANVILLES ANTIQUES 20 Belmont Rd. Ph 0275752454 The owner, Leonie is lovely, and there is a great collection of thoughtfully laid out antiques and collectibles in her shop, as well as quirky bits and pieces sure to catch your eye. For further information about “The little town in the middle of everywhere” go to: http://www.paeroa.org.nz/home
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- Marilyn Monroe 42
Marilyn knew that the best way to feel good, feel glamorous and feel better was to apply a bit of red lipstick, as did most women right up the 1970s. So why are we so scared of it today? The most common thing I hear when I am running a glamour party or workshop is “I’m not brave enough to wear red lipstick”, followed closely by “red lipstick doesn’t suit me”. Somewhere along the way, we have become confused about what we think red lipstick stands for. Maybe we feel that wearing it makes us look like we are trying too hard, or that we are looking to attract a little too much attention? In fact, red lipstick was a sign of emancipation and feminism in the 1920s; it was embraced by women as a symbol of being able to do what they like in the new world. In the 1940s women wore red lips as a symbol of hope and of being strong – they certainly didn’t wear it to pick up a bloke. The real problem is that we are out of practice. For, if you do find the perfect red lipstick, you will know that it doesn’t look like you are trying too hard. In fact it will blend so well that people will comment on how amazing you look – not “oh my goodness look at that lipstick”.
all brands have one – Besame’s is called ‘Besame Red’. If your skin has a yellow undertone then the navy red will look just right, and you will also be able to rock more of a cherry red. If this red looks pink on you then you can be pretty sure that you have a blue undertone to your skin. Pink is lovely, but it’s not what we are looking for, so next you move to a lipstick with a yellow undertone – in Besame’s case ‘Red Hot Red’. This should look more red than pink on you. If it is still pinkish then you have to move to a more orange red, or maybe a reddish brown. If you are struggling with both of these colours you should move to a brick red, one that has equal parts yellow and blue. Redheads have particular difficulty due to the clashing of skin, freckles and hair. Luckily Besame has a killer lipstick called ‘Red Velvet’ – a classic 1940’s inspired brick red. Now you have solved the mystery of red lipstick it is just a matter of being brave. Have confidence that you look amazing, and watch the power of red lips unfold. People have an almost subconscious reaction to scarlet lips and you may just find that reaction quite addictive. Ah the power of red lipstick… Marilyn knew all about that! For more information about Besame cosmetics go to www.thevanitycase.co.nz Claire also blogs at www.starletohara.net
The key is finding a shade that suits your skin tone. Not your eyes, hair or clothing – just your skin tone. Most people have either blue undertones or yellow undertones (or a combination thereof) to their skin. Red lipstick also has either blue or yellow undertones. So essentially, it is a matter of finding out what balances out your skin tone, to look ‘right’. The easiest way to do this is to try on a small range of reds. I use Besame – they have only six reds, in both blue-based and yellow-based undertones, so no room for confusion. Always apply to your lips when trying lipsticks, and make sure you put on a decent amount. The starting point is to find a ‘true red’ otherwise known as a ‘navy red’.This is a blue-based bright red, 43
mend make do and
By Sarah Lancaster
you will need: Frames for him and her Venturing out to the garage or the tool shed, you'd better not be in your Sunday best but rather, prepared to get hands-on with your craft. This project of mending and making do is a great one for teamwork – perhaps with your children or with your partner or a friend. It calls for a bit of elbow grease, as well as some creative flair.
• Picture frames with broken, faded or perhaps very ugly pictures (which will be removed) • An old sheet or blanket (to lay on the ground) A cushion for your knees if working on the man cave floor • Sand paper and a paint scraper • A damp cloth • Paint if desired • Picture hanging loops and picture hooks for the wall (Ask your granddad first; check out the op shop second) • String, twine, boot laces, ribbon, rick rack or woven braid • Wooden pegs • Ruler and pencil • Scissors • A to-do list, important business cards, up-andcoming event flyers, photos of loved ones etc.
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Step 1:
Step 4:
Carefully pop out any pictures, glass, string, wire or metal clips (the wee spiky ones that hold pictures in place). Pop these in the recycling pile, (you may be able to reuse the string) and now you are left with your wonderful frame.
Satisfied with your dishevelled paint look? Wipe again with your damp cloth to clean away the paint dust.
Step 5: Turn your frame over and with a pencil, mark desired points to attach your twine/laces/rick rack. Screw in your picture hanging loops, and while keeping the tension tight (teamwork), knot your twine/laces/rick rack to each loop. You could do this horizontally or vertically (using a ruler to get it nice and neat), or freestyle a zig zag pattern or a big web. Trim off any excess with the scissors.
Step 2: Clean your frame with a damp cloth to get rid of any dirt, mould or cobwebby bits (depending on where you sourced it from).
Step 3: If you want to paint it before adding your mementos, you can do this now. Then you need to get stuck into sanding and scraping with your sandpaper and paint scraper. What you want is to see what lies beneath the topcoat. It may be wood, or it may appear to have a contrasting coloured undercoat like the nice mint green surprise here. Take turns with your project partner to sand and scrape, and refresh yourself with some homemade lemonade on ice.
Step 6: Turn your frame back to the front and peg your photos, postcards, and love notes to it as desired.
Step 7: You can lean your picture frame on the workbench wall, or hang the frame on a picture hook off the wall. Now don’t forget to add to your to-do list: 1. Tidy up the man cave, and 2. Squeeze more lemons for homemade lemonade.
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Directions: 1. Preheat oven to 190°C, fan bake if possible. 2. Spray baking dish with cooking spray, or wipe with small amount of good quality oil. I use rice bran oil.
Perfect Peach Cobbler By Debbie Hodder Nothing says late summer better than perfect peach cobbler…made when peaches are ripened in the sun to perfection. The sweetness and the intense flavour taste like sunshine. Cobbler is a traditional American dessert from the southern United States. (Ever heard the phrase, “Sweeter than a Georgia peach”?). If you aren’t familiar with ‘cobbler’, think of fruit crumble and substitute golden, sponge-like cake for the crumble on top of the cooked fruit. Pretty much any fruit can be substituted for peaches. If you are in a hurry or you want fruit out of season, you can use bottled (or even canned) fruit.
Ingredients: • 6-8 large ripe peaches that have been stoned and skinned. You want to end up with two cups of cooked fruit so you need to start with at least three cups of uncooked fruit. (Winter version – 400g bottled plums + ½ c frozen black currents – you can really use any fruit you like, see ‘Fruit notes’ below.) • ½ cup water • 1 tablespoon sugar (preferably organic) • 50g butter • ½ cup milk • 1 egg • ½ cup sugar (preferably organic) • ½ teaspoon salt • 1 & ½ cups self-raising flour • 200 mls cream
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3. Skin and stone the peaches. If the peaches are nice and ripe, the flesh will come off the stones easily. Chop peaches into chunks approximately 2cm square. 4. Simmer peaches in a small amount of water (appx ½ cup) and a generous tablespoon of sugar. Cook until peaches are quite soft, but not soggy. If liquid is thinner than a syrupy consistency, it should be drained off. 5. Place cooked fruit into prepared baking dish. (If doing the winter version, drain and chop bottled or canned plums, and remove any stones if necessary. Stir through frozen blackcurrants and then add straight into a prepared baking dish - no cooking required with bottled fruit.) 6. For the cake: In a medium-sized saucepan, melt the butter. (Alternatively, melt the butter in a glass bowl in the microwave - about 30 seconds.) 7. Remove saucepan from heat and cool slightly. Add milk and egg to melted butter and mix together. Stir vigorously so egg doesn’t start to cook. 8. Add sugar and salt to egg mixture. 9. Add flour to egg mixture and stir.
10. Pour batter over fruit. Spread out evenly. 11. Bake for about 25 mins until a wooden toothpick comes out clean. (TIP: Never test ‘doneness’ of baked goods with a metal knife as the knife will just slide through raw batter.) Serve as per serving the following seving suggestions.
fruit notes: Any fruit can be used with this recipe…it is a matter of taste. The key thing for a truly vintage recipe is that the fruit be either in season or have been bottled when it was in season. If bottling is not your thing and you don’t have a kind relative or friend to do it for you, keep an eye out at farmer’s markets, roadside stalls, hospice shops, school galas, etc. You need to end up with two cups of fruit so if you are starting with fresh fruit, you need at least three cups to allow for the fruit to cook down. If you are combining fruits as I have suggested with the plums and blackcurrants, choose a sweeter fruit and a tart fruit for a delicious combination.
Serve with those same clouds of billowing whipped cream…keeping in mind it will melt and form rivers of decadent runny cream. Alternatively, you can serve with vanilla custard, warm or cold.
Crockery suggestions: Unless you are lucky enough to have a set of granny’s china, you can collect beautiful pieces of china/ crockery from op shops. This is good for a multitude or reasons…reduce, reuse, and recycle. Not to mention that what you will find will probably be infinitely better quality and at a fraction of the cost of the new ‘retro’ pieces that you will find in modern homeware stores. Choose pieces that you love in colours that appeal to you. If you have a favourite colour or style, you can have mismatched pieces that look delightful together. Cut glass bowls are a dime a dozen and look spectacular with those clouds of whipped cream in them. Place your lovely china on a crisply ironed lace tablecloth and don’t forget to accessorise with cake forks and, maybe even, souvenir teaspoons.
Serving suggestions: In the summer: Serve cobbler warm, not piping hot. Scoop cobbler out of serving dish and lay on its side so the warm, rich cake is side-by-side with the oozing warm fruit. This is best served on a dessert plate or in a shallow bowl. Serve with vanilla ice cream or clouds of billowing, unsweetened whipped cream. In the winter: Scoop hot cobbler out of baking dish and turn your scoop upside down in a slightly deeper bowl. I serve it so the fruit is on top of the cake rather than side-by-side. Since you are serving it quite hot, the fruit will run off the cake and reveal the golden deliciousness underneath. The deeper bowl keeps it all together rather than letting it slide all over a shallower dish.
Photography and styling by Kate Arbuthnot and Rose Jackson 47
hopped up
Citroen By Faye Lougher “Sartorial is a word I hear a lot,” says David Taylor of Wanganui, and it’s a word that describes his style perfectly. In a world that seems to have been taken over by jeans and tracksuits, David is a beacon of light; a man who simply oozes elegance. If he can’t find a readymade outfit or accessory, he just whips out his sewing machine and runs it up himself. David says he has always loved dressing up, even as a child. “I loved military style clothing, like the old post office uniforms which I thought were wonderful. I was a mod in the 1960s, and I used to dress in Edwardian style jackets. I loved hats too. I’ve always been ‘styley’, I guess you could call it. I went to a get together at a private club we’re members of recently, and I wore a black three-piece suit I’d altered to fit me; I went the whole nine yards. People said I looked fabulous and an older chap told me I looked absolutely fantastic.” Always ahead of the times, David grew a moustache – which his friends mocked until they 48
saw the Beatles sporting them. He then decided to grow a beard, a decision that was justified when the Beatles’ White Album was released as it showed the fab four with beards! When David married wife Bronnie in Las Vegas, he made his own white three-piece suit, which perfectly complemented her dress, styled on the one Kate Winslet wore in Titanic. As he is tall and slim, David says being able to make his own clothes is almost a necessity, but it also allows him to alter vintage items to suit his shape. David’s not only a dab hand at sewing – he also hand-built a 1938 Citroen Coupe replica that is a real head-turner, capturing the eye of Claire Gormly and Rose Jackson from Glory Days at the recent Vintage Weekend in Wanganui. David said the rumble seat of Andre (the car was named in honour of Citroen’s founder, André Citroën) was a bit of a magnet for beautiful women that weekend! David has always loved Citroens, saying he remembers seeing a display of the cars at an A & P Show when he was a child.
in New Zealand, and there are only four of them left in the world. I built this myself, it took me a lot of time – the finishing took longer than the creating of the car, so to speak. All the door handles and things like that. If I want something, I make a start on it and keep going until I run out of money. To make my coupe, I started with a whole car and the remains of a coupe.” David’s day job is restoring and painting cars of all ages, but he says he prefers to work on older vehicles. “As a kid I went around and collected the car brochures. Even as a child I had a good eye and I thought ‘one day I will have one of those cars’.” David says the older Citroens are still very reliable and extremely comfortable cars that will happily cruise along at 100kph. In addition to the coupe, he also owns two 1954 Citroens, and a 1966 which he uses as a daily driver. “They are commonly called Traction Avants, meaning front-wheel drive. I used one as a workshop car for many years. It kept up with the traffic in Auckland, which is not an easy thing to do.” The Traction Avant came about because André Citroën wanted to produce a car that was technologically ahead of those of his rivals. When he visited America in the early 1930s, he was shown a proposal for a monocoque vehicle, one that incorporated the chassis and body as a single unit. The prototype also displayed a low centre of gravity, made possible by placing the gearbox ahead of the engine to drive the front wheels, and rakish styling.
“I’ve always loved 1930s and 1950s American cars, and I had owned about 15 by the time I was 20. They are just fabulous. I’ve also owned lots of different French cars, mostly Renault, Peugeot and Citroen. I’ve had a lot of older Peugeots.” When he’s not working on cars or the perfect outfit, David is a dance studio partner. “I partner lone women who come along to learn to dance. I really enjoy it and a lot of them become friends. I met my wife, Bronnie, there.” David used to compete in ballroom and Latin dancing competitions, but he also loves new vogue and swing dancing, and can do a mean Lindy Hop. When they met, David says Bronnie had never dressed up in period clothing before, but now her wardrobe rivals his and they enjoy getting together with friends for regular dance sessions and going out to events in the Citroen.
David has showed his cars at a number of car shows, and was a spectator at the Art Deco Weekend in Napier many times before he and Bronnie entered the coupe in 2011. “We took it in the grand parade and we got three rounds of applause. It’s the only one like it 49
HI FIDELITY
Simon- Where does the name ‘The Southern Diplomats’ come from? “We were well into pulling together our playlist, but we still had no name. We’d all written a list of prospective names, but nothing really gelled until Chuck Berry’s Nadine happened to be playing at a band practice one night, and one of the lines in that song is “a campaign shouting like a Southern Diplomat”. It had a great ring to it, we all live south of the Bombay Hills in the mighty Waikato and Bay of Plenty, and rockabilly comes from the southern states of America. Diplomats also had a nice vibe, so it was a perfect fit.”
The Southern Diplomats have an authentic rockabilly sense of style; tell me, how important is the authentic look and feel of the band? The Southern Diplomats – Hamilton’s No Bullsh*t Rockabilly Band. By Michelle Parish The Southern Diplomats are one of New Zealand’s premier rockabilly bands, playing only authentic cool 1950s tunes including standard numbers, and old favourites in the rockabilly scene. Their style is raw, highenergy, no bullsh*t rockabilly, so brace yourselves and make sure you’ve got a good pair of dancing shoes when you get the chance to watch the Diplomats play. The band is made up of legendary psychobilly bassist, Simon Crowfoot (Torment, Demented Are Go), guitarist Sam Kimber-Bell (Dick Dynamite and the Doppelgangers), and drummer Verne Bigwood (Molly Gun and The Little Red Hens). The band formed over beer after Simon and Sam decided, in Simon’s Hamilton hometown, they wanted to start a kickass rockabilly band. Simon and Sam were acquaintances as they had both been members of various bands in the New Zealand psychobilly scene. Simon had also played in UK psychobilly bands. They both met Verne at 2012’s Very Vintage Day Out. When a spot came up for a drummer in the band, Simon decided to approach Verne after being impressed with his drumming technique in Molly Gun. And the rest is history.
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“Extremely important. First impressions count and the rockabilly style is a smart, slick, defined look with cool threads and slick hair do’s. (Verne always has a slick bald head! With a cool cheese cutter!) The look goes hand-in-hand with the music we play.”
Who are your musical influences? “To be honest there are so many, but the key influences would have to be The Johnny Burnette Trio, Charlie Feathers, Joe Clay, Mac Curtis and Sonny Fisher.”
What do you think about the new bands that are bringing back the sounds of rockabilly and R&B, and gaining commercial success and popularity like Kitty, Daisy & Lewis, JD McPherson and Imelda May? “We all think its great as it’s getting the general public aware of this cool style of music and it is something we’ve all been into for years, but never got to hear on the radio. Even if it’s not played every day, it has to be a good thing when it hits the airwaves.”
What are the most important factors to the band’s success? “The friendship and playing ability of each member. We have a really tight-knit band, we’re all on the same level with no egos, and a passionate interest in the rockabilly music we are playing and that’s a pretty rare combo in a band actually.”
What would be the Southern Diplomats' dream gig? “It would be great to be offered gigs at Viva Las Vegas in the USA, The Rhythm Riot Festival in the UK or Greazefest in Australia. We are just waiting for the call. These are all great rockin’ lifestyle festivals that are well established and host a selection of legendary 50s rockabilly stars from past and present.”
Have you got any plans to record? “Funny you should ask that. as a good friend of the band who owns recording equipment has offered us some recording time. So it looks like it could be a winter project for us, to spend some time laying down some tracks. Another friend of the band in the USA has a rockabilly radio show and has asked for recordings to play, so it’s a must-do for us.”
bass and have been doing that in rockabilly and psychobilly bands ever since.”
Verne – how long have you been playing drums and in what bands? “I’ve been playing drums since my early teens, spending many years playing in punk/alternative and cover bands. I have always had a fondness for rockabilly since the revival in the 1980s, but never joined a rockabilly band until four years ago. That was The Little Red Hens from Waihi, followed by a punk-a-billy band called Molly Gun from Mt Maunganui. I jumped at the chance to play with The Southern Diplomats when it came up. It’s great to be in an authentic rockabilly band that is really passionate about what they’re doing.”
If you would like The Southern Diplomats to play at your wedding, party or event, please contact them on the numbers/emails below: Simon 027 725 8288 or scrowfoot@gmail.com or Sam 022 0765 019 samkimberbell@gmail.com
Sam – I see you play a Gretsch guitar, what made you choose a Gretsch? “After watching Brian Setzer of the Stray Cats playing a 6120 model and those 50’s cats playing those electric, semi-acoustic guitars, and Gretsch being the brand of choice for both rockabilly and psychobilly guitarists, I had to get me one.”
Simon – How did you get into playing double bass? “When I went to see The Stray Cats in 1980 in Bristol UK, and saw Lee Rocker doing his thing and I wanted a bit of that too. So I got into the rockabilly scene and lifestyle, and bought and taught myself how to slap that
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There were high aspirations to achieve a world record for the Largest Fan Dance, and with the leadership of Jezebel Express, we managed to get 253 people synchronised dancing with fans to Beethoven’s 5th Symphony. A particularly touching moment was being lent a pair of fans by the wonderful Dirty Martini. The record was achieved several months later. I was incredibly impressed by how many classes there were to choose from (over 100), and it was difficult to narrow them down (to only 19). Everything ran like clockwork thanks to a team of over 25 unpaid volunteers. When you love something so much, it means a lot just to be part of it. Highlights of my schedule included ‘Getting Sponsors’ by Miss Rosie Bitts. Lots of great info was gleamed, notes were taken, and plans were hatched. Rosie indeed is a fine business woman. Coco Lectric and the ‘Big Bad Boa’. Coco won the ‘Reigning Queen of Burlesque’ title in 2011 at the Burlesque Hall of Fame. Coco has a bewitching smile, and has perfect charm that left me feeling comfortable in her presence. She taught us sassy and sensual tricks with the boa. Speaking of which, there were so many large and wonderful boas at the session, and I left determined to practise what she taught.
this issue, we learn about...
Burlycon 2012 Seattle, Washington is home to a rather large and wonderful event worthy of note to any burlesque dancer or enthusiast. I had the pleasure of attending Burlycon last year, and never in my wildest dreams would I have imagined the wonderment of what this event had in store for me. Now in its sixth year, Burlycon is ‘a communityoriented professional development and educational convention for burlesque performers, fans, and aficionados.’ Essentially it's a place where everyone gets to play and learn together. 2012 was blessed with many guests of honour, and some regular attendees that I’d gladly give my hind teeth to meet. Dirty Martini, Julie Atlaz Muz, Jo Boobs Weldon, Coco Letric and Indigo Blue were on my wish list, and I was not disappointed. Burlycon was the start of new friendships and a warm community.
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A huge drawcard for me was ‘Building Community’, a group session run by Miss Indigo Blue. Indigo is indeed one of the major reasons I went to Burlycon. Through one of her acts (Biscotti), she made me reexamine burlesque as performance art. She inspired me to explore what community is about. She gave us each a Narwhal (of truth and responsibility) and
Miss La Belle and Indigo Blue at the Vintage Meet and Greet
Marriage Celebrant If you are planning a wedding I offer: Learning Masculine Posturing is serious business. Elsa aka Ernie Von Shmaltz and Miss La Belle urged us all to engage our brains. I learnt community cannot be built alone, and we owe it to ourselves and others, and to the betterment of ourselves and our craft, to take ownership of our actions. This is a wonderful tool to have in my learning kit, and I wholeheartedly encourage others to consider these points too. The most fun class I attended was ‘Booty Bounce’ by Peekaboo Point. Peekaboo resides in New York City, and sheesh that gal has an eight-pack and big round booty that bounces wonderfully. I felt the buzz and excitement that came from feeling good about my jiggly bum, amongst other women experiencing the same.
* A fresh, vibrant approach to marriage ceremonies personalised to reflect your unique dynamic * A Singing Celebrant service and consultation on a variety of music and entertainment options. * Relationships with vintage service providers for that special, vintage twist info@ClarissaDunn.com www.ClarissaDunn.com
Four days of madcap adventures, the welcoming hearts, the kindness, the diversity, the letting down of old beliefs and taking up of new ones, the playing, the listening, the partying all filled my cup of burlesque happiness. I highly recommend others attend this wonderful annual event too. For further information go to http:// burlycon.org
You can read more, or find out about burlesque classes at Miss La Belle’s website www.misslabelle.com
Haute Flash burlesque Yvette D’Sin(Seahorse) and Goldie Goldstein(Caviar) with Miss La Belle at the Under the Sea dance party
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cinemascope
GRAND HOTEL (1932 by Mark Roulston As the fifth recipient of the Academy Award for Best Picture, Edmund Goulding’s Grand Hotel is, like so many early classics, a template-setting picture in a number of ways. The entwining of stories from several characters is wonderfully engaging, yet also deliberately trivial; a simple slice of life from a single floor in the opulent, cavernous Grand Hotel in Berlin. Following an effortless but undeniably effective set up, John Barrymore charms as the dapper Baron Felix von Gaigern, a shadowy con man intent on relieving melodramatic ballet dancer Grusinskaya (Greta Garbo) of her jewels, in the hope of paying off an old debt. Meanwhile, the leering General Director Preysing (Wallace Beery) vies for the affections of his beautiful
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stenographer (Joan Crawford), while trying to salvage a troubled business deal, and all are somehow drawn together by the doomed optimism of the hopeless Kringelein (Lionel Barrymore). Every member of the all-star cast brings just the right tone to their characters. John Barrymore delivers a dashing, confident performance right up until the point where he is thunderstruck by love for the first time in his life, and Garbo shows desperate vulnerability and a prima donna’s desire for fame and affection, sharply contrasting her own intensely private life. A very young Joan Crawford plays Flaemmchen as a classic cinematic tomboy so common to classical Hollywood, adorable and accessible in equal measure, and Lionel Barrymore serves as comic relief with work regularly bordering on slapstick. It is a somewhat hackneyed film criticism trope to refer to location as an extra character in a given film, but Grand Hotel’s titular location is an early example of how a
filmmaker can use their backdrop to subtly flesh out a particular thematic aspect of the picture. Goulding uses expansive establishing shots and sweeping pans to emphasise the labyrinthine nature of the hotel, before narrowing his gaze to just one small portion. He also gives much attention to the lobby’s revolving door, returning to the image again and again, and driving home the key piece of the puzzle in Grand Hotel; a place where, as one character notes in the film’s bookending monologues, “People come, people go, nothing ever happens”. The joys of decoding the dialogue don’t end there, given that Grand Hotel falls right in the early days of the strict censorship of the Hays’ Motion Picture Production Code. The first meeting of John Barrymore and Crawford crackles with thinly veiled desire, and the lustful euphemisms of Beery are as hilarious as they are loathsome.
As is often the case when reaching back far into cinema history, Grand Hotel might seem familiar to many firsttime viewers due to its influence. For those of us who appreciate the past, and hunger for experience of the origins of style however, the film is an absolute treat, offering romance, wonderfully drawn characters, and more than a few surprising turns.
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Blogger: Marianne
Net worth
English-rose-turned-Melburnian, Marianne, of Esme and the Laneway, is renown for her vintage sense of style and enviable dress collection! Her beautiful photography, paired with her daily outfit features, highlight her adventures in and around Melbourne. Marianne you have an amazing wardrobe of dresses, how many do you own and if you could choose your top two, which pieces would they be? Thank you! Hmmm, I’ll make a guess at 30 that are/ will be in high rotation at the moment. For a while now I’ve said that my red and pink 1950’s party dress – chopped and de-bowed before I got it – 56
Blog: Esme and the Laneway Location: Melbourne Contributor: Melanie Freeman
was a favourite, and it still is in my top five, but I think it is time to shine the light on some new ones. I love my coral, white and olive striped and floral sundress, and the powder blue colour of my fitted wool dress that I’m yet to wear. It’s SO hard to choose though! I like to be strict with what I buy, and despite faults and flaws, only pick dresses that I really love. I also have a 1940’s blouse that I love but didn’t wear enough when I got it last winter, as I didn’t know what to wear it with. Subsequently I’ve found a lot of things that will be perfect for it, I just need to imagine it actually being cold enough to wear wool now!
Are there any particular eras that inspire you and how do you incorporate these into your day-to-day style? My favourite eras are the 1930’s to the first half of the 1960’s, and I find something from each era within that time. 1930’s dresses with their puffed sleeves, swishing about my ankles and cut on the bias are so romantic; I just love the bold colour combinations and strong look of the 1940’s, and the 1950’s and early 60’s sundresses are beautiful and incredibly practical for living in a hot climate. I have been growing my collection of these sundresses, because they are perfect for the long hot summer
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here in Melbourne, and easy to care for – I just put them in the washing machine with everything else. I cannot wait for winter though, as colder weather is my favourite. I have some early 1960’s fitted wool dresses that I can’t wait to wear! I also want to wear a lot more hats this winter, especially 1930’s and 1940’s tilt ones – and 1950’s ones too, actually! You have been a successful blogger for over four and a half years; what advice can you give to aspiring bloggers? Ha ha, well I don’t know how successful I would say I am! I think there is definitely a way to be successful in a business sense, but to be honest I prefer to blog about what I love and find interesting, and I am chuffed and feel lucky that my readers like that too. I would advise new bloggers to simply write about
what they love. Taking good, clear photos is not easy but will always help, but you don’t need a fancy camera to do this. To begin with, just experiment with whatever you have and then you can upgrade when you need to in the future. I always want to improve and share more, and make you feel as though you were there with me. Always stick to what you love though – it shouldn’t be a chore, but something to look forward to! Also find what works for you; I find that posting often helps me, as if I leave it too long I get a kind of stage fright. I also find it more enjoyable to do smaller posts more often, but this is something I am always working on and finding out what feels best - it changes all the time too. Where do you like to source items for your wardrobe and can you recommend any great vintage shopping places in Melbourne? A lot of my vintage has come from online sources – Etsy in particular – and I was lucky enough to find some vintage in Melbourne’s op shops and garage sales. This has been very rare though! Retail has changed a lot here recently, and it’s hard to keep up with all the vintage shops. There are several in the city - you just have to go often, and be lucky! I do love Clara Fox in North Fitzroy, a small and perfectly stuffed vintage shop on St Georges Road. All photos by Marianne Rutherford
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Black Betty presents “Shop and Bop” Vintage Fair, Hard Luck Cafe, Auckland, May 5th. Any stall big or small, you provide the shop, DJ Netti Page will provide the bop! Come to sell, come to buy, just come along! Cash only. Hard Luck Cafe will have a special Sunday roast themed menu just for the occasion. There will also be a vegetarian option. Oh, word on the street is that it’s someone’s birthday that day too. This is a vintage market/party, so make sure you stay for dinner and drinks! Wear your finest vintage to show us what you’ve got!
Vintage Style - makeover session with Debonaire Do’s, The Loft, 32B Alexandra Street, Hamilton, May 18th, 11am - 3pm. $45 per person. Covering key looks from the 1940s and 1950s. For more info contact michswingal@yahoo.co.nz
4th Steampunk Festival,
Oamaru, May 31st - June 2nd The highlight of the Steampunk year! People travel from Invercargill to Whangerei to participate. This year events include Oamaru on Fire, literary readings, an airship Crew Mess Dinner, airship racing, steampunk battle of the bands, a steampunk fashion show, a gala ball and much more.
Vintage - Ora ma,
Wellington High School Hall, Wellington, June 15, 10am-5pm, entry $2. It’s a vintage lifestyle extravaganza and you’re invited. Vintage-Orama (pronounced vin-taj-orama) is an expo celebrating all aspects of vintage culture and will be offering a wide range of retailers, workshops, dance lessons and entertainment. Seeking vintage vendors now, reasonable stall rates, enquiries to: vamporium@windowslive.com
Waikato Mid-Winter Retro Fair, Chartwell
Cooperating Church, Hamilton Saturday July 28, 9am-3pm. 59
The Vintage Cupboard Stockists of Retrospecd, Hell Bunny, Collectif and Bernie Dexter 416 Innes Rd, Christchurch www.thevintagecupboard.co.nz www.facebook.com/VintageCupboard
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