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And what a great issue with which to kick off the printing game... Debate will always rage about what exact years ‘Art Deco’ encompassed, but what is not under question is the proliferation of stunning design concepts, outlandish personalities and fabulous fashions this era bestowed on our past.
The Deco Issue Greetings from Glory Days HQ! While we might not yet be housed in our dream Art Deco headquarters, complete with cocktail bar and dancefloor (Trade Me auctions in far flung corners of New Zealand have been wistfully bandied about) we have shimmied one step closer to official magazine-dom with an exciting series of firsts. To coincide with our first birthday, we’ve released our first ever printed issue of Glory Days with our first international star gracing the cover. The irony of a vintage lifestyle magazine only being available online was not lost on us, however we found it invaluable for deciding whether there was enough of a demand for a publication dedicated to a shared passion for times past. The overwhelming feedback has been “when’s it coming out in print?” Well, you asked so we obliged. It’s hard to truly appreciate the design work that our team spend hours conjuring out of thin air, or the stunning images snapped in forests, burlesque clubs and people’s wardrobes, or the wonderful yarns spun by our talented writers if you don’t get to see it all in its full colour ink and paper glory. 4
In this, our Deco themed issue, regular columnist Malayka was lucky enough to dive behind the velvet curtain of Auckland’s stunning Civic Theatre to learn about the golden star of that particular stage, Freda Stark. Another influential performer who has taken inspiration from this era but who is well and truly alive and kicking today is award-winning American musician and songwriter Pokey LaFarge. Natasha Francois spoke to this affable gent on the eve of his first New Zealand tour and found he was every bit as smart, approachable and thoughtful as he comes across on his records. LaFarge is touring the North Island in March as well as headlining the WOMAD festival in New Plymouth, so we urge you to revel in his his Riverboat Soul while he’s in our neck of the woods. And what Deco issue of Glory Days would be complete without a ‘How To Guide’ for the Tremains Art Deco Weekend which takes place in Napier every February? If you are a fan of the period, your life will not be complete without at least one visit to this four day immersive experience, and we are incredibly lucky to have the perfect backdrop for the festivities. Personally, it’s my favourite weekend of the year and if it’s not already, I hope it becomes yours too! Claire, Natasha and I just want to extend our personal thanks to everyone who purchased a subscription and donated to Australasia’s premier vintage lifestyle publication over the past few months. Without your support, our print magazine would still be just a dream. We thank you from the bottom of our vintage loving hearts. And if you haven’t yet subscribed but would like to, visit www.glorydaysmagazine.com for the details, or ‘like’ us on Facebook to keep up with the latest gossip. Happy reading!
Rose and the am. e t s y a D y or l G
CONTENTS
FEATURES Page 11: Just a Plain Ol’ Midwestern Boy: Pokey LaFarge The American roots music troubadour chats to Glory Days on the eve of his first Antipodean tour. Page 22: A Date with Deco Ready to party like it’s 1931? Read our guide to Napier’s Art Deco weekend festivities. Page 27: Stark Naked Malayka Joseph toasts the Civic Theatre’s golden girl. Page 30: Rebel Rebel Smoking in class, throwing ‘petting parties’ and fraternising with the opposite sex; the Bright Young Things sent society into a flap. Page 32: Provenance: Recycling during the
Great Depression When the stock market crashed in 1929, the glamour of the jazz age reached an abrupt end and Kiwi ingenuity came to the fore. Page 74: Book Extract: Promoting Prosperity A new book shines the spotlight on the art of early New Zealand advertising.
FASHION AND BEAUTY Page 15: idyll time Relaxed attire for lazy summer days. Page 44: People Watching: VVdo high tea James Yang for Little Death photographs attendees at the Very Vintage High Tea. Page 51: The Beauty Spot: Get a deco do Marcel waves, finger waves and the bob; Rose Jackson shows us how to recreate hairdos from the jazz age. Page 54: Other Peoples’ Wardrobes A glimpse into the wardrobes of diehard vintage collectors. This issue, Rose Jackson peeks inside the gargantuan wardrobes of deco doyenne Susie Ford. Page: 56: Fully Fashioned: Brave New Fabric In the heady days of the early 20th century, it was only fitting that a new kind of man-made fabric would be invented, says Leimomi Oakes. Page 01: Glory Girl Introducing Gatsby girl Miss Victory Violet. Page: 81: Car of the Season Presenting a 1937 Auburn Cord.
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LIFESTYLE The Gentlemen’s Club: Brought to you by Scooter e Motion and Scooterazzi. Page 35: On Your Bike Introducing the Esteemed Riders, a new breed of café racers, custom bikers, and scooter riders. Page 37: The Dapper Gent: That Yellow Dress. From the moment she appeared in the store window, he knew she would steal his heart. A love story by Carlos de Treend. Page 40: Hopped Up: Olive-the fordor model a Brought to you by the Classics Museum and Jukebox Diner. Rose Jackson takes a spin in Leigh Patterson’s beloved Fordor Town Sedan.
Page 66: Net Worth Melanie Freeman chats with finger-waved Finnish blogger, Marianne Niemelä. Page: 68: The Burlycue Review: delores daquiri Grace La Belle interviews a pioneer of the Australian neo-burlesque scene.
EVERY ISSUE: Page 04: Editor’s letter Welcome to the debut print edition of Glory Days! Page 07: Meet the Contributors The talented people behind your favourite vintage magazine. Page 08: Speak Easy Your feedback from Facebook, Twitter and email.
Page 42: Sleeping Inn: The Legend of
Charcoal Charlie Claire Gormly delves into the history of classic New Zealand pubs. This issue, she stays at Kaikoura’s New Commercial Hotel.
Page 09: The Scoop: Hot off the wire; news, event reports and reviews. Page 78: Hot Dates: Mark these in your diaries now!
Page 70: Make, Do and Mend: Perfectly Patched. When money was tight and clothing was hard to come by, patching and hemming became a way of life. Page 72: What’s Cookin’ Good Lookin’: Debbie Hodder shows us how to make a foolproof pavlova, inspired by a great Russian ballerina.
REVIEWS: Page 46: This Vintage Town: Manawatu Whether it’s the local scarfie population or the thriving hot rod scene, something is driving Palmerston North to embrace all things old-school. Page 59: Tune Time with Tina Turntables: Brought to you by 95BFM. Our music critic rounds up the sweet sounds of the Deco era. Page 62: High Fidelity: The Big Troubles Saran Goldie Anderson meets The Big Troubles, a big band for the 21st century. WE
Page 64: Cinema Scope: Metropolis Ahead of its time, Fritz Lang’s Metropolis set the template for futuristic allegory, writes Mark Roulston.
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FROM FACEBOOK: Finally found time to look through your latest Victorian issue – so many great stories and sumptuous visuals. Awesome! (Or as they may have said back then, ‘jolly good!’). - Sue Maloney Fantastic issue! I have just spent the last hour thoroughly engrossed reading with my cup of tea! - Melanie Freeman Love your magazine. It’s slick, and way up there on an international standard. - Jimmy Vargas I love it! It’s beautiful. Easily my favourite issue thus far. - Carlos de Treend
FROM TWITTER: FranticAboutFrances<3, @franticafrances: New issue of @glorydaysmag is out! For #steampunk #Victorian #corsets #vintage and more, give it a read! Jackson Perry, @CaptureNZ: The latest @glorydaysmag is out online. Vintage, retro, steampunk and corsets.
VIA EMAIL: Splendid magazine and smashing article by Steve. I loved reading about his creations too. Thanks so much. I will certainly spread the good word and let you know when we make it to NZ! - Sam Bompas, Bompas & Parr LLP Cover looks gorgeous – can’t wait for a hard-copy issue next year! - Joanna Wane The team you have are very clever. Very VERY impressed too with the Victorian photo shoot, looks so authentic like it really was shot on a plate camera. - Chrissy Pownall Just to say, very nice mag. BIG tick. My lady and I were introduced to it via the great day on K-Road a few weeks ago while looking into the “vintage” concept as we will be using that to theme our February wedding. Looking forward to learning more from your pages. - John and Sue
We love to read your feedback! Drop us a line at editors@glorydaysmagazine.com 8
FEB 19 - 23, 2014
Don’t miss this not too ƐĞƌŝŽƵƐ ĐĞůĞďƌĂƟŽŶ ŽĨ the Art Deco style. www.artdeconapier.com
Luke de Large Writer
Luke spent the first 27 years of his life in Europe, travelling to events from Cape North to Sicily. His main passion is the Vespa and the scene attached to this iconic scooter. Luke holds a Bachelor of Sociology and is also a trained toolmaker. This split background results in a literally hands-on approach to all things technical, whilst having a keen interest in the social aspects. If it has wheels, smells of oil and might have been found stored away in a shed for ages, count him in. In the past 17 years since Luke moved to New Zealand, he’s restored, repaired and looked after countless vintage and classic Vespas. He has organised rallies, gigs and events. For Luke, the vintage lifestyle is not a weekend hobby, but a dayto-day reality. He has been on board with Glory Days from the very start, pulling strings in the background and making sure that there will be always interesting content for the guys.
Mandy Neugebauer Writer
Mandy’s been a vintage collector, researcher and enthusiast for most of her life. She is interested in all eras and is always keen to learn new things about anything old, be it retro or vintage. She also loves the controversies and scandals of the past, and enjoys writing about them. Mandy had her own vintage store – Black Betty. Bam-bul-lam! – and still sells online. She’s dressed celebrities for the red carpet, and assisted sourcing vintage clothes for film and TV. Recently she was bestowed the honour of being a judge for Miss PinUp New Zealand at the Very Vintage Day Out. For more info visit facebook.com/blackbettysvintage 7
products. Since using Antipodes my skin has vastly improved! I also do a weekly avocado/ honey mask and sometimes a baking soda mask to brighten and exfoliate.
Classic Beauty With her porcelain skin, jet-black hair and ruby lips, Ella Macedo is the personification of a modern pinup girl. Equal parts Disney princess and modern pinup, the Auckland-based hairdresser struttted her stuff at the inaugural Miss Classic 2013 pageant (held at the Atomic Festival in Hamilton) and won top prize. We caught up with Miss Victory Violet to ask about her style inspirations, how she maintains that flawless complexion and what makes her tick. Congratulations on being named Miss Classic 2013. How did it feel to win the title? Thanks! It feels really awesome! I was pretty nervous about entering as it was the first event like it that I’ve done. It ended up being a lot of fun and the rest of the girls that entered were fabulous too! You’re fairly new to the pinup scene, how did you first become interested in vintage and rockabilly culture? As a teenager I started to get into the vintage style and slowly starting adding retro influences into my wardrobe like polka dots and red lips. Then a few years ago I found pinupgirlclothing.com, did a big order from them and have never looked back. Hairdressing also really intensified my love for the style as I love recreating vintage hairstyles and trying to work out how each one is done.
Who are your style inspirations and why? I absolutely love Doris Mayday and Micheline Pitt who work and model for Pinup Girl Clothing. It was awesome to meet them in Vegas earlier on the year. Tony Medina (His Vintage Touch) is a amazing vintage hairdresser and I love Idda van Munster’s flawless look. A lot of my style inspirations come from other modern-day girls that dress in the vintage style, usually found on Instagram! So what do you get up to when you’re not winning pinup competitions? I’m a full-time hairdresser at Killer Hair in Newton and specialise in vintage hair which is one of my favourite things to do. Outside of work, I’m usually catching up with friends, watching my favourite TV shows and I occasionally swing dance! Any plans to enter more pinup comps/ other plans on the horizon? Next on the agenda is to enter Miss Pinup New Zealand! And then the following week I’ll be getting married! See more of Ella at: http://instagram.com/ missvictoryviolet By Natasha Francois
What is it about vintage style that appeals to you and why? It’s just so feminine and flattering! After trying to fit the ‘normal’ mould and never feeling comfortable, the confidence that came with the vintage style was pretty addictive. You’ve got such a striking and flawless look, could you share your beauty secrets with our readers? In the last year I’ve switched to the organic skincare range Antipodes after having problems with swollen eyelids and allergic reactions to overly active 9
Deadbeat Dance! When Glory Days heard that Sal Valentine and the Babyshakes were playing a rare gig in the capital we were all over it. PIKDAT Promotions did a great job of raising the sartorial bar on a Saturday night by organising a fantastic gig combined with an oldfashioned prom, complete with prom king and queen.
Atomic Cocktail Although the day dawned grey and dismal, the atmosphere at this year’s Atomic Festival 2013, organised by Mel Freeman, was electric. Held at Hamilton’s Classics Museum and Jukebox diner, Honey L’Amour was the face of this year’s event and presided over the Miss Classic competition, which drew a number of beautifully turned-out ladies to the stage. The title of Miss Classic went to Ella Jane Macedo, who will host next year’s event. The men poured over the vintage car collection inside the Classics Museum, and admired the vintage cars that lined the car park outside. Food was available from the Jukebox Diner and bands such as The Southern Diplomats and Jason Tapp who played an amazingly authentic Johnny Cash set to the crowds throughout the day. The ladies from Debonaire Doos, The Vanity Case, Decadia Vintage and the Sweet Painted Lady set up a luxurious pamper parlour inside the diner and provided complete vintage hair-styling and makeovers. Glory Days was also there in force: ladies pored over copies of the magazine while getting their hair backcombed and sprayed into submission! All in all, the third annual Atomic Festival was an outstanding success and Mel is looking forward to making next year’s event even bigger. With a full weekend of vintage goodness, including more children’s entertainment and more bands, Mel wants to give everyone that comes more bang for their buck! Visit www.atomicmarketnz.com By Von Vonski 10
Sal Valentine and his musicians acted as the house band, playing in the interludes between the varied performers of the night. These were stoner rock threepiece band Rackets, and the legendary Goodshirt. Goodshirt played a fantastic set, with all the classics, but I was not the only one to feel old when they played a cover of Sierra Leone, and maybe only five members of the audience knew the words. Sal and his band then took the stage – resplendent with twinkling lights – to bring the house down with his own brand of swing and soul. Sal always puts on a great show, and the addition of the shortskirted Dropdead Dancing Girls was inspired. Fine work PIKDAT and Sal Valentine – don’t be strangers here in the capital! By Claire Gormly
By Natasha Francois era suits With his Prohibition Prohibition-era suits, Fedora hats and perfectly pomaded ‘do, Pokey LaFarge (real name Andrew Heissler) looks like he could have just stepped out of a speakeasy.
He prefers to be thought of as a “preservationist”, keeping American traditions alive. “I’m influenced by my own contemporary point of view view. It’s important for people to remember that any legendary musician has one foot in his roots and one foot in the future.”
The sharply dressed singer and band (formerly known as the South City Three before they expanded to five members) hail from St Louis, Missouri – “smack dab in the middle of the good ol’ USA” – and perform music that harks back to the very building blocks on which American music was founded. What’s more, they play it on authentic vintage instruments, which include archtop, parlour and lap steel guitars, an upright bass and a tenor banjo.
So perhaps the best way to sum up the “Riverboat Soul” of Pokey LaFarge is to use one of his own quotes: “It’s not retro music, it’s American music that never died.”
But although their genre-blurring music– steeped in Western swing, ragtime, bluegrass and early country and jazz – conjures up the sepia-toned days of old, LaFarge says he’s no throwback.
No one thinks of classical music as retro, he says, “although it’s been played for hundreds of years. Just like the Irish are still playing folk songs that haven’t lost any of their relevance.”
“Ultimately I view my material as modern since I’m writing it from a modern point of view, says the 30-year-old troubadour. “Any artist takes lessons from the past. I’m telling today’s stories about my life.”
Misconceptions arise due to the increasingly globalised culture in which we live. “People aren’t used to hearing this music anymore. They don’t hear a solo on a clarinet anymore, they don’t hear a solo on a piano anymore.”
“This isn’t a new art form, this is a current and enduring art form. We invented rock ‘n’ roll, country, country swing, western swing, jazz, blues … these things that were invented in America have been around 100 years and the roots go way deeper.”
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Inspired by the exploits of his literary heroes, who include Kerouac, Twain and Steinbeck, Pokey embarked on a wanderlust lifestyle, hitchhiking and busking his way across the country after leaving school. “It was about wanting to be immersed in a different side of American culture that was never really popularised,” he says. Now, travelling is a way of life. He spends the bulk of his time on the road (he spent almost all of 2013 on a world tour) and is finally heading to our neck of the woods in March 2014 where he’ll headline the WOMAD festival in New Plymouth. He’s looking forward to his debut tour of Aotearoa: he knows we’re referred to as “Kiwis”, has heard a lot about the beauty of the South Island and done his homework when it comes to reading up about the history of American soldiers stationed here during World War II. However, the more he travels, the more he hankers for home. “My roots are important to me, I think that’s pretty apparent in my song writing,” he says. “I’m proud to be from the Midwest and what it’s always stood for and continues to stand for. Hard work, family structures. I come from a hardworking family and a lot of people I know are hardworking. There’s also the underdog quality. “Music has evolved so much in the past 100 years but not as much in the last 30 years as far as I’m concerned. As the world becomes more globalised, culture is kind of stifled on a local level, at least musically.” It was at an early age that the avid history buff first discovered the blues. “I had been listening to the old blues since I was about 14, but when I was 17 I heard Bill Monroe, so I started playing the mandolin and researching further.” Ragtime, country, swing, jazz and bluegrass jumped out because they were so different to what he was used to hearing on radio and TV. It was the soul richness, the honey, the purity and the authenticity that spoke to him and inspired him to delve deeper into music’s back catalogue and begin writing his own songs. The first Pokey La Farge record, Marmalade, came out in 2007. He now has five albums under his belt, mostly released on different record labels. The band signed to Jack White’s Third Man for their 2013 album Pokey LaFarge. 12
“St Louis people are humble, certainly not pretentious”, he says. “Almost too humble at times. And we’ve been overlooked, especially in regards to music history.” St Louis is a city defined by music, especially its role in the development of blues, jazz and ragtime. The rivers were the early bloodlines of the nation he says. “They were the early roads of the country. As well as transporting goods, they also transported music up and down the rivers. That’s how knowledge was spread. “St Louis has always been a melting pot, with people passing through on the railroads and highways, and riverboats and wagon trains. It’s always been a crossover place and has never cashed in on one particular sound, that’s why people tend to forget about it.” At the same time, Pokey says, the music continues to flourish on an underground level. Ask him what he loves about the river city and he’ll includes the music, he ll rattle off a long list which in mountains, the Mississippi and M Missouri rivers, soul
d rich history of the area, food, BBQs, baseball and even the distinctive clay bricks from the region. And as his lyrics on the song Central Time attest, he’s a proud spokesman for the Midwest: “The Missouri is my right arm, the Ohio is my left/ But I’m livin’ on the Mississippi River where I like life the best/ I don’t mind the west coast, and I don’t mind the east coast/ Oh baby, but I ain’t gonna live on no coast/ I’m just a plain ole Midwestern boy/ Gettin’ by on Central time...”
obsessing about old clothes or o old buildings,” he says. The quality is far superior to things that are being created today. “I think most people will agree that it was a classier time. There was better quality in the photography, music, food and the clothing. Clothes were, more often than not, American made. They were made with better material too. I have suits and clothes from the ‘30s, you can’t beat the way they were made. From the ‘50s onwards, they got too boxy.”
Luckily for LaFarge, one of the advantages of being When asked to name his favourite era in history, constantly on the road means he gets do to plenty Pokey is quick to name the modern epoch. “Today is of thrift-shopping along the way. “I enjoy most the most exciting period in history because I’m here things vintage if you will, but I do use a computer. now and I can change it.” Hell, you can’t get away from that. My fixations are pretty simple: old cars, 78rpm records, hats, shoes, However, when pressed, he cites the 1920s (“It’s such old instruments and my girlfriend, who is indeed a fertile period of history; music was exploding”) vintage-clad herself.” and the World War II era (“It’s a tremendously important period; millions of people died so we can Pokey LaFarge will be playing at the WOMAD have what we have today”). World Music Festival, held in Taranaki, from the 14–16 March 2014. For further information He puts the recent swing back to the past down to a and to book your ticket visit www.womad.co.nz desire for quality. “That’s why there are more people
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Idyll Time
fashion
Josh wears: Strangely Normal straw hat and fishing shirt, shorts from Search And Destroy.
Luna wears: Amy Miller cashmere cardigan from Pearl, Widdess silk shirt, pleated skirt from Decadia Vintage.
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fashion
Luna wears: Amy Miller cashmere cardigan Pearl, Smoove Reworked Vintage dress.
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Josh wears: Strangely Normal hat, shirt from Paperbag Princess, belt from Decadia Vintage, trousers from The Salvation Army.
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Luna wears: Pearl waistcoat, lace top from Decadia Vintage, Widdess linen trousers
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Josh wears: Strangely Normal pinup hunting shirt, trousers from The Salvation Army.
Luna wears: Hat from Decadia Vintage, shirt from Smoove Reworked Vintage, Pearl belt and wide leg trousers
fashion
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Luna wears: Pearl Swarovski silk scarf and capri pants, Widdess silk top
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Photography: Tiffany Curtis http://www.tiffanycurtis.co.nz Wardrobe and Styling: Rose Jackson for Decadia – Vintage Beauty & Style www.decadiavintage.com Hair: Rose Jackson for Decadia – Vintage Beauty & Style Makeup: Luna Rioumina Models: Josh and Luna The fashion team would like to thank Cris Roberts from Pearl for the use of her beautiful home and garden.
19 O’CONNELL ST AUCKLAND CBD 09 309 0600 www.strangelynormal.com
Pin Up Illustration & Graphic Design
Photography by www.lamode.co.nz
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a date with
Your Guide to Tremains Art Deco Weekend in
Napier, New Zealand
Words and photography by Rose Jackson
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Each February for the past 26 years, the sun-soaked city of Napier, its inhabitants, and more than 35,000 deco pilgrims travel back to 1931. That was the year the earth quaked and fires raged in the Hawke’s Bay region, tragically taking the lives of many and destroying the structural heart of the area. Fortuitously, it also meant the city was rebuilt in the style du jour and the result was an architectural love letter to art deco. To this day most of the buildings stand exactly as they did more than 80 years ago. With possibly one of the finest city-wide examples of a single architectural style in the world, New Zealand has the pleasure of revelling in this disaster-born shrine to the golden age of aesthetics, which has earned the city the deserved moniker of “Art Deco Capital of the World”. 2014 is the 26th anniversary of the Tremains Art Deco Weekend, and as events manager Peter Mooney says, “People have to experience it... once done, the addiction strikes.” The origins of the now world-famous event are humble. An Art Deco Trust was set up in 1985 to promote a leaflet that outlined the heritage buildings of the area, and a very small celebration was planned
with a movie premiere and guided walk. The expected 100-strong crowd ended up being well over 1000, and it soon became clear there was something special about the city and its unique story. As a result of public enthusiasm, the Trust developed the firstever art deco weekend in 1989, with seven events held over two days and 14 cars in attendance. The art deco weekend has now grown to a fourday extravaganza, boasting more than 200 events including decadent balls, Gatsby picnics, vintage car rallies, depression dinners, aircraft displays, and costume competitions. The organisers refer to the ‘threads’ within the events programme, so whether you are a keen dancer, a motorcar fanatic or a design decophile, there is a host of events that thread through your chosen focus, which you can follow all weekend long. Whatever your budget and tastes, Napier has something for everyone. It’s possible to do the weekend on the smell of an oily rag, attending the free events held in and around the streets and staying at local backpackers, such as the fantastic Toad Hall Backpackers, right in town. You can have just as amazing an experience as if you took part in the magnificent balls and stayed in a luxury apartment on the sea front. 23
“I’ve had wonderful times on the Saturday night, with the music, the atmosphere, mingling, talking, dashing over and doing a bit of dancing in front of the soundshell. For a daytime event, the Gatsby picnic is fun as well. It would be hard to think of a dud event that I’ve attended. When you first descend on Napier during the festivities, you could be forgiven for imagining that you’re on the set of a movie, such is the proliferation of well-dressed ‘extras’ and incredibly life-like ‘scenery’. You’ll feel completely out of place if you don’t dress up! As well as adding to the colour and fun of the town’s atmosphere, your deco wardrobe also plays a socially cohesive function. As Bertie, Napier’s Art Deco ambassador, says, “Because you are dressed up, there’s a certain acceptance... the barriers go down.” Peter likes to quote an American visitor who attended the weekend several years ago and was heard saying “It’s just a great chance to dress up and play silly buggers!” One who takes great pleasure and delight from dressing up is Inger Sheil (pictured second from the left, above). Hailing from Sydney, Inger caught the deco bug at a young age, after being told fascinating tales of life in those times by her grandmother, and playing childhood dress-ups in her incredible wardrobe. Inger has one of the most extensive collections of deco clothing in the world, and has made the pilgrimage to Napier every year since 2007. Glory Days asked Inger for her recommendations for first-time attendees: “The wonderful thing, is you can do the paid and unpaid events. You can tailor it to your budget. I have friends who do it on a shoestring, and others who go no-holds-barred. I think some of the best events are the open air ones. 24
“The opening soiree is fun, as it’s a chance to see people you haven’t caught up with for a year. It’s a great meeting point. One of my favourite things to do is just sit outside The Masonic or Churchills, drink cocktails, and watch the constant stream of people getting in and out of cars, driving off, chatting to passersby. If you’re wearing vintage, you are regarded as live entertainment and part of the show. Complete strangers from all over the world come up and talk to you and the atmosphere is so wonderful and friendly.” The 26th Tremains Art Deco Weekend runs from February 19 – 23. For programmes, tickets and other essential information, visit www.artdeconapier.com or pop into the Deco Centre at 7 Tennyson Street, Napier, where the staff and more than 120 dedicated volunteers are happy to lend a begloved hand.
What Do I Wear? If you want to buy original vintage, 1930s outfits are more accessible and in better condition. The 1930s is still an undervalued era so clothing is cheaper than the popular 1920s. Look up “Agent Bluebelle” on facebook or www.etsy.com to source some great vintage pieces. Thanks to the Great Gatsby movie, most of the big chain stores had a 1920s-inspired clothing line this year. Look for drop-waisted dresses or tops, and knee-length straight skirts. Skirts were not short – showing a glimpse of knee was scandalous enough. Bias cut mid-calf-length dresses can evoke the 1930s well. Stay away from sleeveless (evening dresses had a small sleeve). For evening, long, slinky bias cut dresses are ideal. Google 1920s and 1930s clothing and learn about the small details – the cut of the sleeve, the neckline – and look for modern pieces that incorporate these details.
Nothing makes you feel the vibe like knowing you are dressed correctly! It is not difficult to gather together a capsule wardrobe, and there are options for all body types in the fashions spanning the two Deco decades. The 1920s were typified by drop-waisted dresses or separates. The 1930s featured longer, often bias cut, feminine dresses. There was also a proliferation of pants and beach pyjamas – perfect for sunny Napier. Men’s clothing did not alter vastly between the decades: look for wide-leg pants, shirts with a waistcoat, and blazers. For a different look, try pants cut off below the knee with long socks, woollen waistcoats with a tie, or a shirt and braces. Of course it is always acceptable to wear vintage military uniforms.
Talking about details, it is the accessories that really make you look authentic. Stay away from feather boas: they were only worn at night by prostitutes! Also steer away from headbands with feathers. Long pearl necklaces are great, or long pendant necklaces, drop earrings, and, of course, hats. Cloche for the 1920s, wide-brimmed or small and perky for the 1930s. To complete the look you will need to at least have a nod towards period-correct hair and makeup. Finger waves for men and women spanned both decades, and dark red lipstick was de rigeuer. Contact www.thevanitycase.co.nz or www.decadiavintage.com for workshops on how to achieve the look. - Claire Gormly 25
diy deCO Napier’s Best Kept Secret Everyone’s heard about Tremains Art Deco Weekend in February. It’s an iconic event, and if you attend once you are most likely doomed to a life of outfit planning and dance lessons – such is the addiction. But have you heard of July’s DIY DECO? The 1930s were all about furs and long stylish coats, but these are far too hot to wear during a scorching summer event in Napier. So out of a desire to get the winter wardrobe out of storage, DIY DECO was formed. DIY DECO is a small event, much more low key and relaxed than February’s. It’s based on a “pick and choose” system – you pay a $50 entry fee and then choose which events you wish to attend. Some have extra charges but many are free. If you attend this weekend, you’re sure to meet the hardcore “deco-ites” – they know their stuff and you’ll be dazzled by their outfits and attention to
detail. They’re so welcoming that they’ll go out of their way to show you a good time. Case in point: Rose and I were chauferred in style in Olive a beautiful old Ford, to an out-of-the-way op shop! Events this year included “Cocktails and Brain Food” (a drinks and quiz night), a “Dress and Process” showcase of the weekend’s outfits paraded down the main street, lots of dances and organised meals, and finally a trip on a vintage railcar that we’ll never forget. Accommodation is easy to find, the streets aren’t crowded and you get to wear Grandma’s fur coat, so why not give it a try? Check out www.artdeconapier.com for more details. - Claire Gormly
The Civic Theatre’s
Golden Girl
By Malayka Yosepb The red-carpeted floor groans beneath our feet as I wander through Auckland’s opulent Civic Theatre. Thick velvet curtains cascade down the walls between the Moorish towers that frame the stage, while stars twinkle overhead. Other than a cleaner quietly sweeping the aisles, I’m completely alone in this grand old building, and yet you quietly sense these walls hold secrets of more decadent days. It’s tempting to imagine crowds of military boys and their Kiwi sweethearts holding their breath, clutching each other with anticipation, perhaps blushing in the darkness. Suddenly, the spotlight falls on a golden figure, and as the music begins
the audience becomes entranced by a shimmering dancer clad in only a modest G-string and headdress. Applause erupts from the depths of the Wintergarden cabaret below, where the cream of Auckland’s social scene throw back their drinks. It is 1943 and Freda Stark, aka “The Fever of the Fleet”, has secured her name in the New Zealand history books for the second time in her young life. Later, I’m meandering down Symonds St trying to ignore the congested afternoon traffic. Slightly decaying Edwardian buildings with their exposed brick and stained glass windows have transported me to an earlier decade. I’m trying to find shop number 227, the place where Freda’s life began to take shape. 27
age of four, she insisted her parents enrol her in proper dance lessons. As her father was already an accomplished dancer and acrobat, they happily obliged. Her talent continued to grow and by her early 20s she was invited to join the American Ernest Rolls Revue Company on tour. The First World War had come to an end and the roaring 1920s set New Zealand’s nightlife abuzz. Theatres and clubs sprung up all over town and the social elite immersed themselves in a loose new world of sex, drugs and alcohol. The theatre world, of which Freda was now a part, led the way and she soon found herself embroiled in a tangled love triangle with the show’s leading lady Thelma Trott and her much older conductor husband Eric Mareo. On the surface, it appeared as though the threesome were at the height of their game, but behind the facade they were hurtling toward self destruction. Tales began to emerge of heavy drinking binges, love affairs, poverty, raging arguments, an abortion and eventually a scandalous murder trial which captivated the entire country.
After moving here as a young child with her family, Freda’s father opened a shoe shop that also fronted for an illicit TAB. My heart sinks when I finally find the street number scratched into the wall beside a metal roller door. I’m standing in front of my old local dairy! It is a small, narrow space with a scuffed linoleum floor and a line of fridges cooling neon energy drinks. My early 1900s daydream is shattered. I’ve lived on this street myself and begin to imagine how Freda would have walked past the old graveyard on her way to dance class or take the short cut through to Grafton Primary School. It seems that from an early age Freda was the kind of person who knew exactly what she wanted. After her first public performance at the 28
In February 1936 Freda arrived at the Auckland High Court and had to elbow her way through a curious crowd of onlookers. As the main witness in the trial against Eric Mareo for the murder of his wife, Freda had to expose her romantic love affair with Thelma and recount the day that Eric supposedly put Veronal poison into her milk. Mareo was twice given the death sentence but this was eventually downgraded to a life sentence of which he served 12 years. Life for Freda became almost intolerable when the trial was finally over, and it wasn’t until the abdication of the King that the New Zealand public finally found something else to gossip about. Despite vowing never to dance again, Freda found the pull of the limelight all too enticing. While the rest of the world was at war and learning to make do on their meagre Government rations, Freda was earning a comfortable living working as a pay clerk in an ammunition factory by day and a Civic
dancer by night. Lâ&#x20AC;&#x2122;Etoile (The Star) was born: an athletic, naked dancer dipped in (rather toxic) gold paint who had the audience entranced night after night with her captivating routine. With or without her clothes, those that shared their memories of Freda all noted her incredible sense of style, her elegance and the way in which people were naturally drawn to her. It is many years later, after her days of dancing at the Civic are over, after she has married and divorced her lesbian best friend, spent decades exploring her own sexuality in London and eventually returned to New Zealand, that our paths cross again. Freda Stark: famous dancer, gay icon, murder witness, trendsetter throughout the decadesâ&#x20AC;Ś turned Auckland University secretary. I canâ&#x20AC;&#x2122;t hide my disappointment as I try to imagine such a vibrant figure spending her last working years tapping on a typewriter in a dim corner. By all accounts
she remained a glamorous star to the very end. Although the final curtain drew on her life in March 1999, and she was buried beside her great love Thelma Trott, there are whispers around the Civic Theatre that her shadowy figure can still be seen gracing the stage.
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REBEL REBEL: How the Bright Young Things got Society in a Flap. By Mandy Neugebauer We love to think of the Deco era as sophisticated yet loose, with glamour and opulence infiltrating every aspect of life. This was true, but only for those who could afford it. The rich changed outfits throughout the day to suit every occasion; cars were customised to the smallest detail; and gossip and scandal were as prominent as they are today. To not be whispered about was a cardinal sin, that of being boring! The moneyed classes had plenty of spare time and money to flash around. Rich women took tennis lessons from young, buff, but poor men, just to be seen. It would set tongues wagging, so the ladies who lunch would have something hot to discuss over the rims of their glasses. Men would gamble, drink and smoke cigars, while boasting about their mistresses. But what about the rest of society? The upper classes had a curious relationship with the middle and lower classes. They wanted to mix and mingle, but that’s as far as it would go. They would never sit and eat at the table with someone from a different class, but it was acceptable to socialise. Many a scandal would emerge from this behaviour though, as, inevitably, some friendship or romance would defy
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the boundaries of class. This could result in being cut off from the family in disgrace. Victorian elders would offer these situations as warnings to younger family members, threatening the loss of family inheritance if they succumbed to the pettiness of emotion. But teens will be teens, and the roaring ‘20s were a time of pushing boundaries and thumbing your nose at the stuffy ways of the older generation. One way was to go to university. On university campuses, free from the supervision of parents and grandparents, teen culture blossomed. Young wealthy girls, in particular, would go to experience the freedom of mixing with people their own age and from other social classes. Possibly they were unsupervised around boys for the first time too. This spawned new behaviours never seen before (although we take them for granted today). Slang, or ‘slanguage’ ran rife. A lady I spoke to had documented a list of terms that her grandmother used in the 1920s, some of which we still use today. ‘Dud’ referred to a wallflower. Although used more widely these days to refer to anything that fails to launch, the term is still relevant. ‘Plastered’ still refers to being intoxicated, and ‘half cut’ happily drunk. ‘Dapper’ refers to a flapper’s dad, although this has evolved to
be more of a general compliment. I was amazed at how many terms on the list were still current! Cars had a profound impact on dating. Now with roofs, they provided privacy and distance from the watchful eyes of parents. So a boy with an automobile was a huge drawcard. We tend to think of ‘parking’ as a ‘50s thing, but in fact it was well and truly in full swing in the 1920s! Rebellious girls donned trousers and shirts to attend university, smoked in class and left their galoshes unbuckled as they walked around. Some say that the flapping sound the boots made gave the flamboyant girls who came to campus to party more than study the nickname we all know now – flappers. These young ‘it’ girls would hold parties, dress up and assist in the intoxication of all who attended. Some of these parties became known as ‘petting parties’. Unsupervised giddy flappers would make out with as many boys as possible, sometimes even competing.
teens to meet and have petting parties. On Thursday July 9, 1925, the Greensburg Daily Tribune’s front page reported that not only were teens making out and getting to first base on cemetery property, but also indulging in hooligan behaviour. Cars were being driven on walkways, with drivers doing laps then speeding off. So it seems that boy-racers aren’t a new phenomenon and the fact that teens sought the refuge of the cemetery also trumps the Goths. The Deco era is known for its dizzy parties, decadent clothes and outlandish behaviour but it also spawned many of the everyday customs and activities we take part in today.
Here in New Zealand, Mount Pleasant Cemetery was the place to be for
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PROVENANCE Provenance From Packaging to Furnishings: Recycling in the Great Depression By Claire Regnault Senior Curator – History (Creative Industries) Te Papa Tongarewa
The glamour of the Jazz Age came to an abrupt halt in October 1929, when the New York stock market crashed. The economic and social effects spread across the Western world. New Zealand was vulnerable because it depended on Britain buying its agricultural exports. As export earnings plummeted, farmers stopped spending. The effect on the New Zealand economy was drastic. Jobs and wages were slashed, and soon many New Zealand families were desperate. Work relief schemes were the only government support in these tough economic times, even when reported unemployment hit 15 percent – a figure that excluded women and Maori. Real unemployment was believed to be around 30 percent. Relief-scheme work, for which only men were eligible, had to be rationed because such large numbers applied. Fathers or brothers were expected to support female family members who were single and unemployed. In the absence of adequate government support, many New Zealanders were forced to rely on charity to help make ends meet or to look for other inventive ways to get by. ‘Do-it-yourselfers’ lived off the land, by growing their own vegetables, and hunting and fishing. Many New Zealanders also put their ingenuity and hands to work, transforming everyday materials into practical, and sometimes attractive, furnishings and accessories for the home. Te Papa holds a number of examples of such furnishings. The pieces testify not only to people’s waste-not wantnot attitude in times of hardship, but also provide an insight into the brands and packaging available in New Zealand during the 1930s. 32
Food safe made from recycled packing crates (1160 x 675 x 590mm). Maker unknown, c. 1930. Purchased 1997 with New Zealand Lottery Grants Board funds. Te Papa. This food safe is a rare example of Kiwi ingenuity. It was found in 1993, in the shed of an old house in the Auckland suburb of Sandringham. The area was a working-class neighbourhood at the time the food safe was made. The food safe is built almost entirely of packing-case timber from the United States. Many of the inscriptions point to the timber’s earlier uses: “Clock – handle with care”, “Exported from USA Jackliss Sons New York”, and, on the inside of the removable door panel, “NZR” and “Pictures”. Robert McMillan, who worked as a mechanic in Darfield, Canterbury in the late 1920s, made a sewing box, which also includes a fitted shelf, for his wife Gladys. Its made from Vacuum Oil Company boxes. An American company, Vacuum was the first oil company to set up business in Australia; it later became Mobil. While the company’s legends adorn the outside of the box, Mr McMillan carefully lined the box with wallpaper and fabric, to protect its delicate contents: Gladys’ sewing and knitting.
Sewing box made by Robert McMillan from motor spirit boxes (310 x 530 x 388mm). Gift of Mrs Frances M. Stone, 2009. Te Papa. While the cupboard and sewing box are both made from imported packing boxes, this occasional table has been constructed from recycled cheese crates made for the New Zealand dairy company Defiance. The crates are made from kahikatea, a native wood, which was milled from the 1880s until well into the early 20th century. As its timber is odourless, and therefore didn’t run the risk of tainting products, it was ideal for shipping cheese and butter. The bottom tier of the table features the exporter’s mark: “Crate No xx33/ DEFIANCE/ NEW ZEALAND PRODUCE/ REG NO 319/ NEW ZEALAND 1 lbs Net/ FULL CREAM CHEESE”. Left: Occasional table made from recycled kahikatea cheese boxes and calico by an unknown maker c. 1932 (710 x 400mm). Purchased 2009. Te Papa Other forms of product packaging were also transformed into household items during the Great Depression. Empty tin cans (seven to be precise), could be clustered together in a daisy shape, weighted and padded, to make a smart, curvy footstool. This footstool from Museum Theatre Gallery’s collection in Napier is upholstered with a fashionably geometric carpet remnant, and features a jute sack base that originally contained fittings for a revolving clothesline. Tins, with the addition of a couple of holes and piece of fencing wire, could also be used as buckets or billies. Footstool made from upholstered tin cans. Collection of Museum Theatre Gallery, Napier. As with the footstool, this rag rug by Rhona Bayliss was also made on a sacking base, but this time a sugar bag. If the household budget allowed, sugar could be purchased in 70lb jute bags. Rhona made
a number of rugs with her family in the late 1930s to enliven the family home in rural Hawke’s Bay. She used sugar bags and worn men’s suiting as backing, and an array of colourful fabrics for the pile. Old woollens were the most desirable as they were hard-wearing. While rag rugs were made out of need, many women such as Rhona took great pride in creating artful designs and pleasing colour combinations. While some of her rugs are figurative, this rug features a fashionable Art Deco ball and sunburst pattern.
Rag rug by Rhona Bayliss. Gift of Rosalie Quirke, 2013. Te Papa Hessian sacks and scraps of furnishing and dressmaking fabrics were also used to fashion hardwearing aprons, oven cloths and laundry bags, while white cotton flour bags were used for more delicate items such as underwear, table cloths and pillow cases. Such items, rather than being a source of embarrassment, were frequently a source of pride for the thrifty homemaker. Groups such as the Women’s Division of Federated Farmers even added a section for the most attractive item fashioned from a sugar bag to their annual round of competitions. In spite of their humble beginnings, Primitive Depression Era furniture, as it is known, is highly collectible today due to its relative rarity. Few people kept these reminders of poverty after the economy improved. In contrast, Depression-era textiles are easier to source, as women often took pride in their handiwork and handed it down the generations. For more information on the impact of the Great Depression on New Zealand visit www.tepapa.govt.nz/ WhatsOn/exhibitions/SliceofHeaven/ 33
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ON Your Bike
The Esteemed Riders By Luke de Large A new club of motorbike and scooter riders has formed in Auckland for those who appreciate café racers, custom bikes, bobbers, classics, scooters and modern classics. It’s called The Esteemed Riders. The group was initially created for a one-off event, The Distinguished Gentleman’s Ride, a charity run at the end of September 2013. At this social ride, more than 100 bikes and scooters gathered in Point Chevalier and proceeded via the waterfront and the central city to the Italian Festival in Newmarket. The ride was to raise awareness for men’s health and fundraise for prostate cancer research. Unlike the usual brand-specific club rides or vintage and classic events, this ride brought together a vast array of cool machines and their riders.
Being a group of true gentlemen (and gentlewomen) riders resulted in a lack of the usual posturing and banter that many riders endure: “ You call this classic? The exhaust isn’t original.” “Vintage? It’s only 25 years old!” “What’s this poncey scooter doing here? Park your hairdryer somewhere else.” The atmosphere was great and many of the participants asked for more rides like it; a request that encouraged Wayne Cockburn to set up The Esteemed Riders and organise the next ride. The Distinguished Day Out which was held midNovember. The starting point was Coyle Park in Point Chevalier on a Sunday morning. More than 50 riders took the opportunity to meet, chat, kick tyres and then head for a ride. Everybody made sure that the ride-to-coffee-stop ratio was favourable and that there were enough photo opportunities. 35
The fascinating mix of different brands, types and designs gave all participants, a good reason to check each other’s machines out and talk about wrapping exhausts, cutting mudguards and where the tail light should best be positioned. Besides having a great day out with like-minded riders, the group also collected nearly $900 for the Red Cross Typhoon Haiyan Appeal. Some days we’ll ride dapper, and do it for charity. Other days, we’ll just ride for the hell of it. So if you have a classic bike or scooter, look The Esteemed Riders up on Facebook, see when the next event is and join in for a day of fun. www.facebook.com/esteemedridersnz
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That Yellow Dress By Carlos de Treend That yellow dress! From the very moment she appeared wearing it in the store window, I knew she would steal my heart. I’d spent yet another productive Monday morning at the end of January lettering the shop windows of my fair city. ‘WEEKLY SPECIALS’, ‘END OF SEASON SALE’, BARGAINS FOR VALUED CUSTOMERS’, ‘NEW STOCK ARRIVING SOON’. Catchphrases intended to lure the public and ensnare the contents of their wallets. My kitbag was filled with brushes and paints, and Sophia, my tan-coloured French bulldog, was strolling next to me. Life was good. I’d travel to each client on foot, enjoying the cool summer morning air. My usual route led me past Fairmont’s Bakery, and the delicious scent of fresh loaves wafting in the air would make my stomach grumble. I’d tip my hat to Mr Fredricksen as he painstakingly arranged a fresh, colourful display outside his flower shop, and buy a pack of handrolling tobacco from Patrick at the newsstand, remembering to catch a glimpse of the front page, as I liked to be well informed. Of course, the walk also afforded me the pleasure of admiring and critiquing the store-front signage that decorated the streets of the city. I’d always taken great pride in my profession, paying full attention to every brush stroke and embellishment, every filigree and swash. Today was no different. Until I started
lettering the window at the corner of Main and Tennyson, and she appeared in that yellow dress. I could scarcely concentrate on my brush as my eyes shifted between the devastating cleft of her lower lip and the drop shadow of my lettering. I watched, mesmerised, separated only by a thin pane of glass and three layers of black, white and gold paint, as she gaily removed the garments of each of the storefront mannequins to replace them with new stock. I was careful to avert my gaze in case she should catch me admiring her delicate slender wrists, deftly buttoning and adjusting her mannequin’s clothing in such a tender yet deliberate manner. A slight proud smirk developed at the corners of her ruby red mouth as each mannequin was dressed to her satisfaction. I enjoyed watching the gentle sway of her hips as she manoeuvred around each mannequin, and I imagined that she would be a truly graceful dancer. I had barely finished the window signage when Sophia, my ever-faithful companion, barked sharply at a dog across the street. My attention was instantly drawn, as was that of the beautiful young shop attendant who abruptly turned and walked outside. 37
I promptly retrieved a rag from my belt to wipe the paint from my fingers and remove my hat when the young lady strolled right by me, the faint feminine scent of her long, chestnut-brown hair causing a stir in the depths of me. Ignoring me entirely, she dropped to one knee and gently petted Sophia under her velvety chin. So enchanted was I by this gorgeous creature, clothed in that beautiful yellow dress, that I could hardly keep my heart from racing and after a few panicked breaths I managed to stammer out a sentence. â&#x20AC;&#x153;Good Clarke, Miss. My name is Sophia. This dog is my yellow.â&#x20AC;? Of course, to add insult to injury, the bell signalling a customer awaiting service chimed right behind me, and with that, the beautiful woman stood upright and promptly retreated inside her shop. I spent the ensuing week wistfully lettering windows in cobalt yellow, the painful first impression often playing on my mind. How I wished I could have spoken more confidently. I found solace in the fact that, although my work was prominent and largely displayed at street level for all the world to see, I, myself, was figuratively invisible. My signs were crafted or installed in the wee small hours of the morning, appearing to many as if by magic. While I struggled to hold a conversation (lacking practice because of my very limited social circle of Sofia and a handful of patient regular customers), I found inspiration through hand lettering which allowed a freedom of expression like no other occupation Iâ&#x20AC;&#x2122;d ever tried. What I lacked in social skills, I made up for with my trade. Little by little, the windows that lined the streets all turned from the traditional gold or white to cobalt yellow, as the young shop attendant frequented my thoughts from daybreak till dusk. My clients might have begun to complain had it not been for the earthquake that destroyed my city the following Tuesday morning and took with it that beautiful dark maiden in the yellow dress. Somehow, impossible though it may be, I hope she knows that the earthquake that sent panes of yellow glass shattering onto the sidewalk was surpassed in magnitude only by the tremor of my heart as I first set eyes upon her. And the damage wrought by the earthquake was a fitting backdrop to the shattered illusion of my wish that she would be my Valentine. 38
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CINEMA AOTEAROA
www.cinema-aotearoa.co.nz twitter: @CinemaAotearoa cinemaaoteearoa@gmail.com
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hopped up
Olive - the Ford Model A Fordor Town Sedan By Rose Jackson During DIY Deco 2013, I had the pleasure of meeting local legend and Art Deco Trust volunteer Leigh Patterson. He was kind enough to take me for a spin in Olive, his beloved Fordor Town Sedan. Talk about a dream ride! I decided to find out a little more about the grand old lady for the pages of Glory Days, and Leigh was more than happy to oblige. Hello Leigh, please tell us about your vintage car Olive... Olive is a 1930 Ford Model A Fordor Town Sedan. She’s a survivor of the 1931 Hawke’s Bay earthquake, and at the time, belonged to a Hastings dentist. She’s never been fully restored but is a little like Grandpa’s axe, with lots of running repairs over the years. Where did you find her? My wife Trish and I had been considering purchasing a vintage car as part of our deepening immersion into Napier’s Art Deco culture. I saw Olive advertised in NZ Classic Car magazine, we 40
met the owner near Tokoroa, and it was love at first sight. After a bit of haggling, we struck a deal and I drove her home to Napier. She spent three weeks in my garage at home before I could figure out how to start her. How did she come to be called Olive? After making the decision to get a car, an aged aunt of mine passed away and unexpectedly left me a small legacy which we used to make the purchase. Olive was thus named in her honour and memory. Have you modified her at all? No modifications, but I have fitted a safety fuse on the starter motor, and a modern distributor cap in the interests of reliability. It’s important to me to keep the car as original as possible. How do people respond when they see you driving around town? I get a great reception in Napier with loads of photos, looks and waves from people as I pass by. Oddly, in Hastings, people are inclined to look the
other way – something a lot of vintage car owners comment on. What was the best trip you have ever done in her? We generally manage a 1500km tour each year. From Napier we’ve been to Christchurch and Greymouth twice, around the East Coast, Mt Taranaki, and the Coromandel Peninsula. In 2015 we’re going to Wanaka for the National Model A rally, so that trip will be Napier to Napier via the length and breadth of the South Island. Have you any great travelling stories? Olive’s taken us many interesting places, given us fantastic new experiences, and brought some fabulous friends into our lives. One interesting occurrence was some Australian friends who had a ride one Art Deco Weekend and later sent us scan photos of their baby conceived that night. Olive’s been in numerous movies and commercials; in fact sometimes I haven’t known what we have appeared in. I’ve only seen one: a Japanese travel programme where I was interviewed in English, but in the footage I spoke Japanese! Why do you like old cars? They’re filled with character. Old cars weren’t designed with a computer, so every aspect of their design is infused with the personality of their designer. For instance, the door handles on Olive are a graceful wave shape with a delightful upturned scroll at the end. Only a designer could have added
that beauty to something so functional; a computer would have just created a totally utilitarian flat shape. When you hop into an old car, you experience some of the essence of its creator. What is the best thing about owning an old car? Being able to give people rides: I never tire of seeing the thrill people get. I’ve been fortunate enough to have everyone from film crews to neighbours, and probably 30 nationalities in my car. My car’s not a licensed passenger vehicle so I don’t and can’t charge for rides. Extra special are the family and friends’ weddings that Olive has been dressed up for. What is the most challenging thing? The odd breakdowns which are more frequent than a modern car, but are usually able to be resolved far cheaper. What would you say to people who are thinking about getting a vintage motor car? Just do it – you won’t regret it. You can park almost anywhere and it opens up so much activity which would otherwise be closed to you. I’d recommend a brand of car which is easily supported and hasn’t too much rarity, unless you have the skills and patience for the obscure. There are basically two types of vintage car owner: those who like to restore and usually sell not too long after completion, and those who like owning and using their car. I’m definitely the latter. 41
Call it coincidence, call it bad luck, but whichever way you choose to look at it, the New Commercial Hotel in Kaikoura has obviously been touched by something. The building, at 20 Brighton Street, was built in 1924 and its appearance belies its fascinating past. The original Commercial Hotel was built in 1880, and it was one of the first to appear in the area, back when Kaikoura was a thriving town. But at 2am on 4th July 1886, it burnt down, killing George number one. It was immediately rebuilt, only to be burnt down again around 2am on 11th July 1924, killing George number two. This George was known as Silvery Bill, and his remains were found immediately beneath his room. I spoke to owner Trish about The New Commercial’s tortured history. She said that the past is still alive here in the rooms upstairs over the bar.
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Almost everyone here has a story to tell about Charcoal Charlie, the rotund man seen walking down the stairs and sweeping past the kitchen including Trish who sensed him observing her in the office. There’s also the persistent smell of smoke, the footsteps and other sounds that make his presence known. Noeleen used to make beds, and would often come back five minutes later to find the sheets crumpled and a head indent in the pillow. Trish tells how she and a friend were making curtains in the hallway, with their sewing machine sitting on a desk in room five. They heard children laughing, looked at each other, and then noticed the sewing machine had started to work. All by itself. I am writing this from bed, in room eight, covers pulled up to my chin in terror, not altogether comforted by Trish’s insistence that they are nice ghosts and don’t do any harm.
Ghostly Georges, Bills and Charlies aside, the New Commercial is an atmospheric place. The bar itself is a typical country public bar, but go through the sliding door and the old place starts to show its true colours. There are wood panelling and original signs on the doors, a beautiful dining room and dark, narrow hallways. Trish has owned the pub for the past 12 years. She says it’s getting harder and harder to survive. She blames the spate of recent earthquakes, licensing laws, cheap booze in rugby clubrooms that have no overheads, the cultural change away from public bars, and the scourge of campervans taking away the need for a bed for the night.
She tries to keep the locals happy with “Roll the Dice” evenings (paying what you roll for a jug), karaoke and hot pot nights. Beau is an example of a happy local; he loves the camaraderie, the fact that “everyone welcomes you” and how Trish often makes him a meal to take home. All in all, the New Commercial is a great place to stay the night, if you like a homely atmosphere and a great ghost story. Just watch out if you are here in July, and your name happens to be George.
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The VVDO High Tea at Hotel de Brett Winner of the 2013 Very Vintage Day Out Miss Pinup competition, Honey Lâ&#x20AC;&#x2122;Amour, hosted a Very Vintage High Tea and fashion show at the beautiful Hotel De Brett.
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Photograper - James Yang for Little Death
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.
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Manawatu By Claire Gormly, Natasha Francois and Rose Jackson. John Cleese may have been less than complimentary about Palmerston North in the past ; but he can take a running jump – this fair city and its surrounds are fast becoming THE vintage place to be. Who knows whether it’s the local scarfie population or the thriving hot rod scene, but something seems to be driving Palmy to embrace all things old-school. Long hailed as an op-shopping mecca, Palmerston North has really come into its own in recent years. And although the popular nostalgia festival Square Affair may be on hiatus, there is still loads of fun to be had trawling the myriad op shops, boutiques and trendy cafés that have sprung up all over town.
Paris? Built in 1893, it’s a bona fide colonial building situated opposite the old railway station – the former hub of Palmerston North. It’s cheap, cheerful and has a bar downstairs with extremely reasonably priced wine. Even better, it’s just a hop, skip and a jump to the bus station, The Square and George Street (Palmy’s coolest street). Go around the back and check out the old coach entrance! info@cafedeparisinn.co.nz or visit www.cafedeparisinn.co.nz
Tomato Cafe 72 George Street, Palmerston North
The Glory Days editorial team was lucky enough to be treated to a cornucopia of delights, sampling the best vintage treats this town has to offer, thanks to the hospitable people at Destination Manawatu. Visit their impressive website at www.manawatu. co.nz to get the lowdown on local summer events and discover more about this vibrant city.
Accommodation: Cafe De Paris 267 Main St, Palmerston North 06 355 2130 If you’re hunting for an authentic vintage place to stay the night, why not bunk down at the Café de 46
Before you embark on your vintage pilgrimage of Manawatu, you must have breakfast at the iconic Tomato Café. Decor-wise, it’s as if the clock stopped in 1975, when Muldoon ruled the country, flying wall ducks reigned supreme, and mustard, orange and brown were the colours of choice. Owner James
Pettingill says he aims to connect with people through shared history and nostalgia. As far as the breakfast menu goes, there are only two words: Avocado Smash! So deceptively simple and yet so tangy, tasty and moreish. By day you can choose between a contemporary short-order café menu or high-quality cabinet fare, while at night the menu morphs into a New York/ Italian-style café complete with pizza, pasta, salads and seafood options. And we city slickers were highly impressed by the uncity-like prices and fast and friendly service. We’ll be back! www.tomatocafe.co.nz
American Vintage (Mungi Buziness) 319 Main Street, Palmerston North American Vintage is right... this gem of a shop sources its stock direct from the States and its racks are heaving with choice garments ripe for the picking. The store echoed with delighted squeals as we found bargain after bargain (authentic ‘50s dresses with metal zips for a mere $25 anyone?). There are authentic vintage items mixed with a fair amount of retro pieces (including an impressive range of ‘60s space-age mod dresses) so we had to visit multiple times in the name of research. Bonus points for their large men’s section.
Groovylicious Cuba Street, Palmerston Ntth 027 4483041 This brand-new, tiny shop mainly caters for the retro enthusiast. Owner Shaun has a passion for clothes, particularly from the 1980s. It’s an idiosyncratic mix of upcycled, vintage and quirky items. An up-and-coming shop to watch with an eyecatching window display. Groovylicious.co.nz
Petit Fours 249 Cuba Street (and now in the Plaza), Palmerston Nth 06 353 3633 It would be a travesty to spend a day vintage shopping and not stop for refreshments at Petit Fours, Palmerston North’s only cupcake specialist. But to say Petit Fours is only about cupcakes would be doing them a terrible injustice. We sampled their High Tea: amazing value for $15pp. We were offered both savoury and sweet delights including delectable kumara loaf, flaky cream cheese pastries, passionfruit cheesecake and macaroons that were exquisitely presented on vintage china. Owner Chelsea says the menu (lovingly baked by Abby) changes from week to week, and everything is made from scratch. You could certainly taste the difference! Recommended. www.facebook.com/petitfourspn
Humbug 44 George Street, Palmerston Nth If you love oldfashioned sweet shops, then you’ll adore this little boutique. Whether it’s gumballs, sour snakes, milk bottles or chewy caramels, you’re sure to find it here. To add to the sweetness, you can rest assured that you will be helping out the special young people that get work experience here. Humbug Ltd is dedicated to supporting people with special needs and works hard to raise awareness of special needs in the local community. Staffer Georgia Garrett says, “I like it a lot, especially working with May and Georgina, the owners of this great little business.” www.humbug.org.nz
Georgie Girl 46a George Street, Palmerston North 027 3220948 “Hey there Georgie Girl! Swinging down the street so fancy-free…” It’s impossible not to have the Seekers playing in your head while you browse the racks of this boutique, which mixes vintage and designer pieces with contemporary jewellery and accessories. Owner Dawn understands her clientele well and is willing to spend time on her customers to ensure they walk away looking and feeling fabulous.
and Bulls, then back to Palmerston North. It was a round trip crammed full of great bargains, comfort food, bad jokes and amicable company (and the air conditioning was very welcome on such a hot sticky day). Great value for money at $90pp with morning tea included. Pathfinders also offers a half-day tour of Dannevirke, Woodville and Aokautere. Any vintage bargain hunter can tell you how amazing these places are. This tour is $65 and also includes morning tea.
Urban Charm 54 George Street, Palmerston North, and 126 Bridge Street, Bulls You never know what you may stumble upon amongst the handpicked vintage, new and upcycled collectables and delectables at Urban Charm. Owner Karilyn has a great eye for homewares, gifts and even cosmetics all with a distinctive retro flavour. With a shop in George Street and another in Bulls, there is no excuse not to pop in. In Bulls, Karilyn also owns Colour Me Vintage next door, where you can pick up the perfect vintage party supplies. http://urbancharm.tumblr.com/
Bubbles Champagne and Wine Bar Regent Arcade, Broadway Avenue, Palmerston North After all that shopping you’ll no doubt be dying to put your feet up with a glass of bubbles and perhaps a bite to eat. Josh will look after you at Bubbles, tucked away down Regent Arcade. It’s a classy establishment with a good selection of food available and is in close proximity to other pubs such as the Celtic and the main shopping precinct. www.bubblesbar.co.nz
Pathfinders Antique Tours It’s not often that the Glory Days team gets shopped out, but that was precisely the experience we had with John and his antique shopping tour of Manawatu. What John doesn’t know about the area and its wonderful shops is not worth knowing. The ebullient and wise-cracking tour guide took us on the full day tour, stopping at Shannon, Foxton 48
We strongly recommend these tours if you’re in Palmy with time to kill and a hunger for vintage bargains. We can’t think of a better way to spend a day in Manawatu. Due to John’s extensive local knowledge, we went straight to the good stuff, no mucking about with maps or a GPS app! The shops we visited with John are listed below. www.pathfindertours.co.nz or book at 0800 MANAWATU
Legacy Antiques Old BNZ building, Shannon 021 465 362 What better use for the grand old Bank Of New Zealand building in Shannon than for housing Legacy Antiques? The shop boasts an extensive selection of antiques and homewares, including Victorian textiles, collectable china and vintage furs, all attractively laid out. And the jewellery is even stored – where else? – in the old bank safe!
The Cat’s Pajamas
The Foxton Trading Post
Main Street, Shannon
71 Main Street, Foxton
If its one-of-a-kind treasures, curios, or collectables you’re after, then this place well and truly is the cat’s pajamas. Brenda has recently taken over this little vintage shop which stocks pretty vintage homewares, and it is all beautifully housed in this former garage. Claire picked up an original air stewardess hat here for a song and was very pleased with herself.
Gorgeous 54 Plimmer Terrace, Shannon This is a pretty little boutique with handmade vintage-style clothing. On display were lovely ‘50s-style polka dot aprons and petticoats. A great find if you like vintage-inspired clothing and accessories. www. facebook.com/tofeelgorgeous
Run by the delightful Shane and Tessa, this is one of two Trading Posts in the region; they also have the Levin Trading Post. They sell general household items such as beds, furniture and whiteware as well as bric-a-brac, antiques and collectables, in their large airy shop. www.tradingpostonline.co.nz
Goldie’s Junk and Disorderly 16 Main Street, Foxton 06 363 6950
Retro Mania 13 Ballance Street, Shannon 022 646 8187
Easily one of the shopping high points of Shannon, as the name indicates, Retro Mania is a shop for the retro-inclined. If you hark back to the days of whimsical animal-shaped ceramics, plastic mushroom lamps and old vintage tins, you’ll be spoilt for choice here and the prices are extremely reasonable.
Iconic and eclectic would have to be two words you would use to describe Goldie’s Junk and Disorderly. A delightful anarchic spirit lives in on this eccentric hideout, formerly owned by notorious art forger Goldie; and it’s sure to keep you trapped for hours, exploring every inch of this marvellous treasure trove. Whether it’s retro bar memorabilia, vintage clothing, ‘60s furniture, lamps or antiques, you’re sure to find it here and then some! Of particular note are the scary doll cabinet, incredible range of retro furniture, vinyl records and curios which include a deadstock vintage sanitary belt. 49
Bulls Antiques
Romantiques
High Street, Bulls 06 322 1518
459 Rangitikei Street, Palmerston North 06 358 5750
It’s virtually impossible to drive through Bulls without noticing this filled-to-the brim antique shop right on the corner of the main road. There are loads of glass cabinets displaying the treasures within and the stock tends towards ceramics, and other break-a- bulls, so fortunately there are no bulls in this china shop!
Owner Diane retired a while ago, but couldn’t stay away from her beloved vintage shop, so she reopened in massive premises on Rangitikei Street. There is not a square inch of floor or ceiling space that has not been crammed with antique or vintage goodness, including upstairs. She stocks a huge range of vintage clothing, hats, bags, jewellery, homewares, books, furniture, toys and all kinds of bits and bobs that you never knew you needed.
Scotty’s Gifts and Collectables 73 High Street, Bulls 06 322 1882 Glen is a veritable font of knowledge when it comes to anything Scottish. A fair few vintage pieces nestle amongst Glen’s Scottish wares which include kilts and haggis. It’s an eclectic mix of old and new and the prices are low, low, low.
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get a deco do Words and Images by Rose Jackson from Decadia – Vintage Beauty & Style
example of women’s rebellion against traditional societal expectations of femininity.
The “Roaring Twenties” were a period in history when women threw off the shackles of societal expectation, and went all out to experiment, have fun and enjoy themselves. Called the Bright Young Things in Europe and Flappers in the US, these girls roamed the city in search of jazz joints, mint juleps and any excuse to dress up and dance the night away. Hemlines rose, corsets were thrown off and clothing and hairstyles became less restrictive as various energetic dance crazes swept the world and movies had a huge influence on the star-struck public.
Men were indignant when young women started turning up to barbers asking for a bob, and there were plenty of tears and smelling salts when daughters turned up to show mother and father their modern new ‘do!
Until the 1920s, women grew their hair long and it was always curled and pinned up. Dancer Irene Castle was credited with starting the trend for ‘bobbed’ hair (a short chin-length blunt cut – also called the shingle or 3/4). She had the cut for practical reasons, but it sparked a huge spate of copycat cuts the world over, and was another
Apart from the blunt straight bob cut, the other two popular styles were Marcel waves – curling and waving dry hair using heated Marcel tongs – and fingerwaves – sculpting wet hair into waves and pincurls using egg white to set the hair. Thank goodness nowadays there are excellent and convenient tools to create elegant fingerwaves that don’t involve grabbing ingredients from the kitchen cupboard or singeing your hair with fire-heated iron clamps! Read on to find out how to achieve the perfect decoera look for yourself, at home no less! 51
PRODUCT AND EQUIPMENT LIST • • • • • • •
Comb Hot sticks/ hot rollers/ curling iron Setting lotion Wave clips Hairspray Smoothing serum Bobby pins
The key look for deco-style hair is elegant waves that frame and sweep around the face. Please note that waves take lots of practice so don’t get frustrated if you can’t achieve the look straightaway – practice makes perfect!
3.
Comb the hair back away from the face – this creates the C-shaped wave. Place a wave clip in the middle of the curve to secure.
4.
Place a finger next to the wave clip and comb the hair down again.
1.
Part your hair to the side and spray liberally with setting lotion. From the part, comb hair down towards the face.
Place another wave clip in the middle of the C shape. Repeat down the side of the head and then on the other side of the part .
5.
The rest of the hair will need to be curled.
2. Place a finger over the hair that has been combed down and hold very tight. 52
To make the curls stay longer, start by spraying hair liberally with setting lotion, then use whichever curling device you choose to curl your hair.
9. 6. Once you have decided which tool you are using, the curling should be done in horizontal sections across the scalp with the first row of curls rolling under and in towards the head(5), the next set of curls rolling up and away from the head (6).
If your hair is long, for a genuine bobbed look take small sections of the ends of your hair, wind up until they sit at the nape of your neck and secure with bobby pins. Smooth down any flyaways with serum and spray liberally with hairspray to set.
I hope that these tips help you achieve an authentic Decadent Deco Makeover look!
7.
Repeat the horizontal section until you finish curling all your hair. Leave the waves and the curls to cool and set (approx. 30 mins)
8. Take the curlers out, take a flat paddle brush and start brushing the ringlet curls out so they start to look like waves Then form hair into S waves by combing the hair to the right, clip and hold the hair, then comb to the left and continue down in the same pattern.
For more tips and tricks on vintage makeup looks from the 1920s to 1960s please visit: www.decadiavintage.com, like Decadia on Facebook www. facebook.com/decadiavintage or contact me on 0211 697 430.
A NOTE ON CURLING DEVICES: HOT STICKS - I recommend hot sticks for deco hairstyles – they produce a tight curl, the heat can penetrate the entire section of hair and they don’t damage or burn as they are covered in rubber. You cannot buy these new in New Zealand, so hunt some down on Trade Me! CURLING WAND - If you want to use a
curling wand, I recommend investing in a Cloud 9. It does minimal damage to hair, the graduated barrel means you can choose how big or small the curl is and your hair is left smooth and shiny.
HOT ROLLERS - Due to the large width of most hot roller barrels, these are not ideal for creating a deco-style ‘do. They also tend to not heat the entire section of hair right through, which is important if you want the curl to stay in. If you can, I would recommend using one of the above methods rather than rollers. They are great for volume but not for the tight curls required for this style. 53
Anyone who is involved in the vintage scene in New Zealand is sure to have met, or at least heard of, Susie Ford. Also known as Agent Bluebelle, this sartorial superhero imports and sells the most beautiful vintage finery a lady or gent could wish for. When she’s not peddling her wares at markets and fairs, you’ll find her scooping best-dressed prizes or sashaying around in any number of historical and period-correct getups including an Edwardian English rose, a Victorian vixen, a demure ‘40s dame or any era that takes her fancy, such is the breadth and depth of her wardrobes, aptly dubbed Narnia. Glory Days took a peak inside “Spare Oom” to find out some of the stories behind Susie’s collection.
Tell us about your background in vintage clothing and collecting? Blimey this will make me feel old! I began collecting vintage clothes 15 years ago, but I was fascinated by historical costume much earlier than that. Wandering the corridors of these immense and palatial mansion houses and stumbling across beautiful antique fabrics on furniture and walls really caught my imagination. Oh and of course my love of historic/literary costume dramas that I’ve watched almost constantly since my early childhood. Why collect old garments? I coined a phrase a while back – “Caretaker of the Past” – as that’s what I feel I do. I often rescue vintage garments or objects/curios, or even functional items like a wind-up gramophone or a vintage bicycle or uniform. Then I restore/repair and breathe new life into the item, so it can be preserved and loved once more!
What got you interested in old things? Being brought up in England one is surrounded by old buildings, and the culture is very rich so it is only natural to be exposed to such things from an early age. Particularly with my family, as my parents were history buffs so we spent many a holiday and weekend exploring castles, abbeys, cathedrals, Are there specific items/eras that you historic gardens, mansion houses, palaces and ruins. concentrate on collecting? A love of history and architecture was instilled in me My favourite eras are the 1870s and 1930s. I tend not from a very early age. to collect specific items, rather anything that “speaks” to me in some way. It may sound a bit hippie-dippie, but I really feel these historical objects speak to us with their own story.
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I would like to think I am a small chapter in their story, and hopefully they will say they enjoyed that part of their journey with me! Where’s the best place to hunt for vintage bargains? eBay, Etsy, out-of-town vintage/ antique shops, and your friends’ wardrobes! Any tips for readers on how to get into buying and selling vintage? Research thoroughly: only then can you truly know the era(s) you are drawn to. I read lot of books on historical/ vintage fashion but I think a natural eye for vintage is something special that grows and develops like any skill and can’t be bought. The first vintage fashion book I bought was Viva Vintage! by Trudie Bamford, and for the beginner it is an indispensable read. Check out your local library and vintagefashionguild.org, but most of all, talk to fellow enthusiasts and shop owners. Most will be more than happy to convey what their passion means to them, and some things you can’t learn from a book. What’s one piece you would save in a fire? My antique 1870-1880 burgundy velvet and silk bustle dress! It is a recent acquisition and rare to find in such amazing condition. I can just imagine a lady promenading the London streets in it beside her beau during the Christmas period, and stopping to buy roasted chestnuts from a street vendor. What’s your best collection of items? I have collections of 1920s head pieces and parasols, but my favourite, mainly due to the vibrant colours, is my exquisite collection of late 19th century and Art Deco ostrich feather fans and (I couldn’t choose one thing!) my early Deco dresser set in thick butterscotch Lucite and celluloid. Which item has the best provenance story? Probably my 1870s three-piece embroidered muslin bustle wedding dress, worn by Anna B. Cheney in 1870 when she married Daniel H. Ames (known as Dan). This piece came from America and is such an exquisite piece of craftsmanship that has thankfully stood the test of time. It is such a rare thing to find a dress of this age in such wonderful condition.
Your guilty pleasure piece? Never-worn go-go boots with the original receipt dated 29th December 1963....not usually my style but they are so cool and I loved that they came in their original shoe box with their receipt. These are always added bonuses when you are a collector! First piece you paid for yourself? Golly, I can’t remember, to be honest. I began collecting 1960s/’70s pieces from charity shops when I was in my late teens and I no longer have those pieces, sadly. Thing that doesn’t fit but you love it anyway? A 1934 silk floral Gladys Parker day dress with grosgrain ribbon and button trim bearing a National Recovery Act tag. The dress has the most wonderful label: An Original Design Copyright 1934 by Gladys Parker. The NRA blue eagle tag was used only between 1933 and 1935. I try to collect pieces that bear this label as it dates the pieces to the specific era that I love to collect, so I am always on the lookout for these NRA pieces (whether they fit or not!). Favourite accessory? My 1870s silk, embroidered, fringed carriage parasol with folding mechanism. Through the Victorian era, parasol handles grew longer, so carriage parasols were designed with a hinge in the middle, to allow ease of movement in tight spots. It is quite rare to own a Victorian parasol in such excellent condition as usually the silk has begun to disintegrate or the mechanism is broken. It’s doubly rare to find one with fringing intact! 55
FULLY FASHIONED: Brave New Fabric By Leimomi Oakes “Death of the Silkworm” trumpeted one headline. Another read “Artificial Silk Can Be Made Cheaper Than Rags.” In the heady days of the early 20th century, with new technology revolutionising every aspect of life from transport to food, it seemed only fitting that there would also be a new kind of fabric, a man-made fabric. Previously, all fabric had come from plants or animals, but this new fabric was made by dissolving cellulose fibres from wood in various chemical solutions and then extruding the resulting viscose solution into thin filaments which could then be spun into fabrics. The resulting fabrics – acetate, rayon (also known as viscose) and cuprammonium (depending on what chemicals and process had been used to create each fabric) – were known to the public as artificial silk, or art silk. Art silk would become a mainstay of Art Deco fashion, and was made up into everything from knitted jumpers, to seamed stockings, to wedding dresses. Cellulose-based fabrics were actually invented well before the between-the-wars Art Deco era. The headlines quoted date to 1907, but the first cellulose fabrics were made in the 1850s, though a commercially viable process wasn’t patented until the 1890s. Even then, it took a few years of tweaking before cellulose-based fabrics were sold on the market. Rayon was sold in the UK from 1905, in the US from 1910, and in New Zealand from at least 1911. World War I delayed the development of rayon and other cellulose-based fabrics.When the war ended
in 1918 and the world embraced technology with renewed fervour, art silks were perfectly positioned to be the fabric of the new era. The light handle and drape of cellulose fibres matched the loose, unconstrained aesthetic of 1920s fashion. Unlike silk, rayon was washable; an important characteristic for fashions worn for a more active lifestyle.The one drawback of art silk was that it was rather weak, but since 1920s styles skimmed the body rather than hugging it, no strain was put on the delicate fabric. Best of all, advances in dyeing technology made it possible to colour rayon in all the newly fashionable shades, from castilian red and scarab green through brickdust, coral, canary and blonde. The biggest benefit of the cellulose fabrics, though, was their price. As the headlines suggest, artificial silks were cheap to produce, and were significantly less expensive than the real silks they were meant to imitate. It was claimed that art silks were “so soft and glossy that it will deceive even experts when woven,” but silk manufacturers weren’t fooled. They said “Artificial the article certainly is, but silk it is not – any more than celluloid is marble.” Worried about being undercut in price, they campaigned to have cellulose fabrics sold under their proper names rather than as art silk. Viscose was the trade name for a specific type of rayon, so patent laws in the US meant that only that manufacturer’s fabric could be sold as viscose. Instead, rayon was chosen as the generic name for viscose-type rayons in the US. The same laws did not apply in the rest of the world, so they continued to call the fabric viscose, irrespective of the manufacturer, which is why rayon is called viscose in New Zealand today. Cellulose fabrics became increasingly important during the Great Depression because of their affordability. Their status only rose during World War II when the silk trade from Asia was interrupted, and silk was vital for parachutes and other military equipment. Only at the end of the war, when the first fully synthetic fabric, nylon, was introduced, did they lose their status as the glamorous new fabrics, and the indispensable alternatives to silk and cotton.
TIPS FOR IDENTIFYING AND CARING FOR VINTAGE ART SILKS To tell if a fabric is a rayon (or other cellulose fabric) place your hand on it for 30 seconds. Rayons will stay cool, almost cold, to the touch. Cotton will remain cool but not cold. Silks will warm up to body temperature, while synthetics will become almost uncomfortably hot. Modern cellulose-based fabrics have been improved and treated to resist wrinkles.Vintage cellulose fabrics were notorious for creasing and wrinkling, so a crumpled rayon fabric is probably quite old. The exception to this is vintage rayon crepes – the crepe twist of the thread kept the fabric from wrinkling too much. Because cellulose fabrics are made from wood pulp, they can usually be ironed without damage, but it’s still best to avoid ironing vintage garments – instead, steam them to release creases. Store your vintage rayons in a dry, bug-free environment. Avoid storing them in plastic (use cloth garment bags) as plastics retain moisture and off-gas.
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Art Deco: The Birth of Modern Music I have such a great love for Art Deco that I literally wept when I first saw the Chrysler building in New York. I admit I was a tad jet lagged, but it’s a stunning piece of architecture, and symbolises everything I love about that city and the Deco era: an eclectic mix of modern technology created with traditional crafts, geometric design and ornamentation. In many ways, Art Deco music reflects that aesthetic too. The advent of electrified recording technology brought amplification, which gave more control, and allowed the recording of quieter sounds. As traditional music evolved – some becoming increasingly more angular, some more ornate – modern music began. There is, of course, a huge amount of jazz from the Art Deco era, like that of the hugely influential Django Rhienhart in Europe. This time also saw the emergence of blues and country. Most people think of Gershwin, and rightly so. He should be revered for his song Summertime alone. Summertime is an aria from Gershwin’s 1935 opera Porgy and Bess, and is one of the most covered songs in musical history, with more than 33,000 recorded versions.
Every new version brings a fresh beauty I haven’t heard before. The Zombies do an amazing version; Sam Cooke’s is divine; Herbie Mann’s is cool; then there’s Big Mama Thornton, Louis Armstrong and Ella Fitzgerald, Booker T. & The MG’s, Billie Holiday, John Coltrane, Charlie Parker, Mahailia Jackson… Make sure you check out Holiday’s version on You Tube. In the latter half of the Deco era, early jazz musicians who had moved away from the South started calling each other “man” to rid themselves of their slave origins, where adult male slaves were called “boy” as a diminutive term. This is the derivation of the slang term “man”, as in “Hey man, how are you?” (And hence the 1950s Bo Diddley song I’m A Man.) Another important song addressing race issues in America is Billie Holiday’s amazing but devastating Strange Fruit. First sung and recorded by Holiday in 1939, Strange Fruit is about the lynching of
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African Americans. It was originally a poem by Abel Meeropol, a Jewish teacher from the Bronx and member of the Communist Party, who wrote it as a protest against racism and lynchings. It shows the growing shift in consciousness in addressing these issues, which continue to haunt American culture. Another of the great women of this time was the ball-breaking, ground-breaking actress, singer, playwright and screenwriter Mae West, infamous for her quick wit, bawdy double entendres and sass. West was years ahead of her time, and her work spanned seven decades. She started out in vaudeville theatre and was notorious for sleeping with the lighting guys so theyâ&#x20AC;&#x2122;d make her look good. West then moved into radio and film. Sheâ&#x20AC;&#x2122;s credited for spotting Cary Grant on the studio lot (for which I will be eternally grateful) and insisted he was cast as the lead with her in the 1933 film She Done Him Wrong. She claimed to have told a Paramount director, â&#x20AC;&#x153;If he can talk, Iâ&#x20AC;&#x2122;ll take him!â&#x20AC;? The success of the film saved Paramount from bankruptcy. Grant also starred with West in Iâ&#x20AC;&#x2122;m No Angel, which was her most successful film. West was also the subject of Cole Porterâ&#x20AC;&#x2122;s 1934 song Anything Goes and Daliâ&#x20AC;&#x2122;s surrealist Mae West Lips Sofa. Cab Callowayâ&#x20AC;&#x2122;s 1931 song Minnie The Moocher describes an entire era and scene all in one song. Many people know it from the movie The Blues Brothers but hereâ&#x20AC;&#x2122;s Callowayâ&#x20AC;&#x2122;s version is the one to watch. Calloway was one of the great entertainers, with amazing on-stage antics at the famous Cotton Club. His band was always top notch, and later on backed amazing R&B singers like Ruth Brown in the â&#x20AC;&#x2DC;50s, springboarding their careers. Minnie the Moocher and other Calloway songs were performed for the Betty Boop animated shorts. Calloway not only provided his voice for the characters but also, through early rotoscoping (where animators trace over footage), gave away his dance moves as well. In one he can be seen executing a gliding back-step dance move, a precursor to the moonwalk. Calloway, 50 years later, said â&#x20AC;&#x153;It was called The Buzz back then.â&#x20AC;? 60
Iâ&#x20AC;&#x2122;ve concentrated on songs and music from the US, and, frankly, given that jazz, blues, R&B and country are some of the greatest cultural contributions the US has ever made, itâ&#x20AC;&#x2122;s not surprising. But Iâ&#x20AC;&#x2122;ll finish by calling your attention to a British song by Vera Lynn. Weâ&#x20AC;&#x2122;ll Meet Again, from 1939, sums up the simplicity, sweetness, longing and heartbreak that ensued when this era ended with a terrible war.
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H I FI DE LITY
The Big Troubles By Saran Goldie-Anderson As African rhythms crept into popular music, driving ragtime and vaudeville and eventually morphing into swing jazz in the 1920s, a whole new musical style took America and the world by storm. From 1935 to the late 1940s, Big Bands were the business. Decades later, jazz is enjoying a revival in New Zealand. Glory Days chatted to John Rae; composer, musician, teacher at the New Zealand School of Music and band leader of Wellington big band The Big Troubles. When Rae first arrived in New Zealand, there was no established jazz scene or recognition of skill. Highly experienced and talented musicians would be “fighting it out with students” for the one available gig a week at a general bar. Over the past few years, Rae and Wellington bar Meow have been working to establish a dedicated home for good and varied jazz, where the audiences come to experience a high standard of music. It’s become a highly sought-after stage for jazz musicians and bands, as well as an incentive to raise the bar and contribute to the scene. Rae’s not only building a venue, but also a community, and he says that when musicians get 62
involved by playing at jam nights, coming to gigs and contributing time and energy rather than cold calling, “opportunities tend to arrive”. The Troubles, an eclectic contemporary jazz band also led by Rae, has been an institution at Meow on Sunday nights for years now. The band has attracted appreciative crowds, longtime fans and rave reviews for its humorous, energetic and often political brand of music. Many musicians were interested in joining and playing with The Troubles, but as numbers started to get out of hand the idea for a bigger band (or big band) took root, and The Big Troubles was born. The traditional Big Band sound of the 1930s and 1940s was created with a very specific line-up of saxophones, trumpets, trombones and a rhythm section of guitar, bass, piano and drums. While bands varied slightly, and arrangements often called for different instruments or vocalists, the standard setup remained the same. To Rae, however, attempting to accurately replicate that traditional American sound didn’t seem authentic for a modern New Zealand context. The Big Troubles is a big band for the 21st century - bigger, louder and more diverse. Alongside the
horns and rhythm sits an equally powerful string section, and rather than reproducing the music of mid-century America, they play all-original compositions by Rae. The band is also consciously diverse, with an emphasis on having both male and female musicians in the lineup. All band members are highly skilled musicians and most of them play in multiple bands around the city, creating new opportunities for themselves and other musicians while carving out their own niche in the burgeoning jazz culture in New Zealand. It’s certainly easy to see signs of a jazz resurgence all over Wellington. New bands are cutting their teeth in bars and on street corners everywhere you look, each with their own take on the genre. To name just a few, ragtime, second line, blues, dixie, and manouche lineups are all easy enough to find if you skim a gig guide or just wander the pedestrian areas on a sunny weekend – and the audiences are flocking to hear it. Rae calls it “the jazz renaissance”, and says it’s been a long time coming. It certainly appears that way, with bands already booked every night at Meow six months in advance and never struggling for an audience, but the major stumbling block as the vibrant jazz culture continues to grow is lack of official and financial support.
Compared to the world of classical music, Rae calls jazz a “wild west situation”; most gigs are unpaid, and those seeking to make a living as a jazz musician find themselves competing for the few paid opportunities – or making do with coins in a hat. He describes the situation as a relentless status quo; unless you are making classical or bankable pop music, it is unlikely to be officially recognised or supported through funding. While Wellington has two fully funded professional orchestras, there is no national jazz orchestra and the four big bands that play Meow regularly don’t receive funding at all. For such a thriving scene with many active players on the stage and a dedicated and steadily growing audience, it seems certain that it will be impossible to ignore New Zealand jazz for much longer. Keep an ear out for The Big Troubles, because they’re about to shake things up. Find out more by visiting these pages: www.johnrae.biz www.thetroubles.co.nz www.welovemeow.co.nz
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At the time of its release in 1927, Fritz Lang’s lavish science-fiction triptych Metropolis was the most elaborate and expensive cinematic production ever mounted. Over 85 years later, Lang’s undisputed masterpiece has lost little of its power, delighting audiences and enthralling analysts with its remarkable style and deeply parabolic story. It continues to inspire and hold relevance, and is one of the most valuable works of any era in cinema.
turmoil after he becomes enamoured of the saintly Maria (Brigitte Helm), a mysterious woman who brings the children of the subterranean workers to visit the upper city. Pursuing Maria into the depths, Freder witnesses an horrific mechanical explosion which kills several workers. Reporting the incident, Freder learns that the ‘head’ of the city cares not for the ‘hands’, and only wishes to rid himself of the lower classes altogether.
Considered the first feature-length sci-fi film ever made, Metropolis burst forth from the nexus of two highly influential artistic movements. The short-lived but incredibly important era of German Expressionism was already on the wane by the mid1920s, just as art deco was beginning to take hold, and the two intersecting styles give Lang’s opus a unique aesthetic that filmmakers have continually returned to in subsequent decades. The centrepiece of the film is the city itself, with the grimy, angular worker’s city literally under the foot of the grand, licentious Metropolis above, lorded over by the heartless Joh Fredersen (Alfred Abel).
Upon discovering that Maria is something of a figurehead for the oppressed workers, Joh commissions his one-time rival Rotwang (Rudolf Klein-Rogge) to infuse his latest creation, the Maschinenmensch (machine-human), with Maria’s likeness, giving him an instrument to whip the workers into a violent frenzy and an excuse to forcibly wipe them out.
Freder (Gustav Fröhlich) is the son of the aforementioned head, and a carefree resident of the decadent city. His life of luxury is thrown into
The Madonna-whore dichotomy between the two Marias, one a symbol of purity and light, the other a vessel of unadulterated sin, is but one of Metropolis’
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Clone Maria, in her robot form is one of film history’s most striking images, yet it occupies relatively little screen-time in a film overflowing with iconic visuals.
numerous biblical allegories. Lang references the construction of the Tower of Babel in relation to the domain of Frederson, and clone-Maria embodies a futuristic Whore of Babylon as the revolting workers lead the city to ruin, as they are caught up in her devilish thrall. Impossibly ahead of its time, Metropolis is embedded in the DNA of every sci-ďŹ picture that came after it, and set the template for futuristic allegory. And thereâ&#x20AC;&#x2122;s no better time to see it, given that the 2010 restoration is considered to be around 95% complete, likely the most we will ever get.
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Image: Jirina Alanko
By Melanie Freeman
Blogger: http://www.fintage.net/blogi/author/marianne This issue I caught up with Marianne Niemelä from Tampere, Finland. Marianne is the epitome of deco style, from her fiery finger waves down to her satin T-Bar heels. As a regular personal style contributor on the Fintage Network, she shares her daily and special occasion outfits alongside her fellow contributors. Marianne is a qualified seamstress, and enjoys recreating vintage clothing inspired by her favourite eras and collecting vintage shoes. Marianne could you please tell us what drew you to vintage and what particular eras inspire your day -to-day wear? My fascination with costume and fashion history, and longing for unique beauty and style, have been present since I was a child, so my love for vintage is 66
only natural. I’m most inspired by the 1930s; I find it the most flattering style on me and I just can’t get past what an ingenious era this was in fashion history. Besides the ‘30s, I love the Edwardian era and the 1920s. I also like late Victorian fashion and I sometimes draw inspiration from the early 1940s and late 1950s – early 1960s. There are so many great vintage networks internationally, how has the Fintage Association supported your vintage lifestyle? I didn’t really know anyone with similar interests before, but through Fintage I’ve met so many vintage enthusiasts from Finland and all over the world. Fintage Fashion Show is a project where a few members of Fintage began posting an outfit every two weeks. It started with Sylvie’s amazing 365 Vintage Days, where she posted a new outfit every day for a year. After a year she wanted to continue, but not every day, so we decided to contribute as well. Fintage organises events too. Currently there are two big vintage fairs held in Tampere. These
Image: Lassi Patokorpi
events are great for meeting people, having fun, shopping and soaking up the general atmosphere. For our fashion and makeup lovers, can you please explain your day-to-day beauty rituals? I have almost straight hair naturally. I love finger waves and set my signature look with pin curls and wave clips. My complexion is very pale so I do feel I need some colour on my face to complete the look. On a daily basis I wear blush, lipstick, mascara and colour my eyebrows. For special events and nights out I might wear heavier make-up and darker colours.
Image: David Hate
my favourite things from people I know. I’m also a seamstress by trade; I make, repair and customise a fair amount of my wardrobe. I don’t really buy much new nowadays, mostly vintage, antique or secondhand. I find clothes, accessories, furniture and other necessities from flea markets and vintage/antique shops. To me it’s not only a question of style, but a conscious choice and a statement against poorquality mass production and the consumerist frenzy. And just for fun… You’re hosting a lawn garden party: who are the five people (current or historic) you would invite?
You have a wonderful collection of vintage clothing, where do you like to source your garments from? Most I find online, but I have to give credit to my friends too: I have bought or received some of
Image: Lassi Patokorpi
I’ll stick to the theme here and host an utopian party, inviting vintage-loving bloggers from around the world, who have inspired me with their wonderful sense of style: Miriam from Miriams Kafferep, Jill from Tea with the Vintage Baroness, Lauren from Wearing History, Johanna Öst and The Bright Young Twins (maybe we could count them as one?) What an astonishing party it would be! 67
and discovered that there was a revival going on. When I came back, a friend and I decided to form a burlesque troupe as we thought it would be fun. I haven’t looked back. You’ve been running the Australian Burlesque Festival since 2010 – what first inspired you to take on such an ambitious project? My business partner and I really wanted to organise and produce a burlesque festival that was community-focused and run by burlesque performers. We were conscious of not letting it get into the wrong hands and were very passionate about producing a festival for the artists. Do you make your own costumes? Are they vintage-inspired? I used to make all of my own costumes but nowadays I tend to get them made. I just don’t have the time anymore as it’s important for me to concentrate on performing and producing rather than spending hours on a costume.
This issue, Miss La Belle interviews:
s ri e or l o D Daqui
Dolores Daiquiri is a pioneer of Australia’s burlesque revival, and was at the forefront of the neoburlesque explosion 13 years ago. She began her career as a founding member of Australia’s longest-serving burlesque troupe and continued as a soloist. Today Dolores produces and performs in a vast array of showcases both in Australia and internationally, including the Australian Burlesque Festival which she’s produced since 2010. You’ve been in the scene for 10 years – what was your intro into burlesque? Well it’s actually coming up to 13 years since I’ve been performing and producing burlesque. I’ve always loved burlesque, pin-up, dancing and a vintage aesthetic so the transition to performer was easy. Early on, I went to the US for a holiday 68
All my costumes are vintage-inspired and my influences come from my vast array of books, magazines, DVDs and more. I like to emulate the Golden Era of the 1930s –1950s, my favourite period in time. Who’s your biggest yesteryear costuming influence? Oh there are so many! I absolutely love the Hollywood movie stars of the 1920s –1960s. Some of the costumes that the likes of Joan Crawford, Norma Shearer, Cyd Charisse, Mae West, Lana Turner wore were incredible. I love the musicals of that time as well. The big sets and lavish costumes were amazing. You dress vintage; what’s your favourite era? Why? I simply love the ‘40s and ‘50s. Vintage clothing is something I have been passionate about for over 20 years. There is something so appealing about this time period. I am particularly fond of Hawaiiana, bombshell dresses and casual daywear. What’s your favourite clothing piece/outfit? I love all my rayon vintage Hawaiian frocks. I have some awesome ‘50s cocktail chiffon dresses and lurex numbers.
What was your first vintage clothing item? I actually remember my first vintage outfit. It was an apricot linen dress. It was so tiny and I loved it. Don’t remember what happened to it but it was pretty. I felt very special in that dress. Do you have any vintage burlesque costumes? I love all my costumes but am really fond of a costume made by Zoe Felice in Melbourne. Her workmanship is of the highest quality. However I have a brand-new costume made by a New York costumier that is to die for. I can’t wait to wear this baby! Finish the sentence. A lady isn’t complete without ... Red lipstick and mascara!
others. I was bullied once in burlesque and it was not pleasant. I was constantly told I was not good enough at anything I tried to do, ranging from my business practices, choreography, costume ideas, creative pursuits, teaching and so on. I nearly quit performing as it was devastating. However, I picked myself up and decided not to be defeated. I now run a successful burlesque festival and continue to perform all over Australia and abroad. Equally, find a mentor and someone you can trust who will help you on your journey. Never let anyone try to stomp on your dreams. The next Australian Burlesque Festival is happening in June 2014. www.australianburlesquefest.com www.salonboudoir.com.au
What’s the weirdest and most wonderful thing that has happened to you through burlesque? Oh there are too many to count. Weird would be getting changed in unusual places like boat sheds and a broom closet. Wonderful would be performing at so many high-profile and interesting events, featuring in a couple of movies, video clips, books and so on. Meeting so many wonderfully talented people along the way has been my most memorable experience. I have made some lovely friends and continue to be energised and excited about what I do and who I meet. What can each of us do to help build a supportive burlesque culture? It’s important to nurture our community, be supportive towards each other, give of yourself wherever you can and be nice to people. I don’t tolerate bullying or people who berate or gang up on 69
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’ n i k o o C s ’ t Wha ? ’ n i k o o L d Goo deco delights Deco delights? Twenties temptations? In regards to food, what were they? When it came time to write this column, I was a bit perplexed. Some eras and foods have strong associations: the ‘70s and fondue is a classic. And special occasions also have strong food associations – Christmas and turkey for example – but nothing sprang to mind for the ‘20s. Plenty of other things are associated with the ‘20s, including fabulous fashions, daring designers, cloche hats, automobiles, art, literature and jazz. But it turns out that food, in general, was utilitarian and not the social event that it has become (except for the wealthy). While celebrations were heralded with special foods just as they always have been, on a daily basis food was a fair amount of work. The processing and mass production of foods was in its infancy, and preparation was laborious. In this column I’m focusing on a recipe invented in the ‘20s which is known and loved the world over. It ties into the ‘20s love of art and dance, and is our own beloved pavlova. The story goes that this delicious dessert was created by a chef in Wellington in 1926 in honour of the ballerina Anna Pavlova when she visited New Zealand. It emulated the ballerina by being extremely beautiful and lighter than air. Once you make this simple recipe, I hope that you will never buy an inferior version again! 72
Just before we get into the recipes, let me stress the saying that “Cooking is an art, but baking is a science.” If you want to turn a stir-fry or a pizza into an art form, go for it. Change and play with ingredients and techniques. Good baking can look like an art form due to presentation, but it is the science behind the recipe that makes it. It is the result of chemical changes that occur with the mixing of yeast and sugar and air and heat and time. Get this right and then play with flavourings and toppings.
vinegar rather than cream of tartar to stabilise the egg whites. If you don’t have vinegar, use ½ tsp cream of tartar.)
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Spoon meringue onto baking paper. Pile the meringue in the centre of the tray and use the back of a spoon to shape it into a circle about 22cm (9in) in diameter. Alternatively, you can make individual mini pavlovas. This is especially nice for dinner parties and everyone gets their own pile of cream and fruit. Rather than one big pile of meringue, make 4–6 mini piles. When shaping on the baking paper, make a slight well in the centre of the meringue to hold the whipped cream and fruit.
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1
Preheat oven to 180 deg C and place rack in centre of oven. Line a baking sheet with baking paper and spray baking paper with cooking spray. NOTE: Just BEFORE you put the pav in the oven, reduce heat to 100 deg C (210 deg F).
2
Separate the eggs. You are only going to use the whites, but save the yolks and make a delicious custard or simply cook the egg yolks and mix with some mayonnaise for egg salad. (Don’t get ANY yolk into the whites as this will kill the pav. It is worth separating the eggs into ramekins individually to make sure you don’t let yolk slip on the fourth egg and ruin the lot.)
3
Reduce heat to 100 deg C (210 deg F). Bake for an hour or until the outside is dry and takes on a very pale cream colour.( Mini-pavs take less time; probably ½ hour). Turn the oven off, leave the door slightly ajar, and let the meringue cool completely in the oven. The outside of the meringue will feel firm to the touch if gently pressed, but as it cools you will get a little cracking and you will see that the inside is soft and marshmallowy.
8
The cooled pavlova can be stored in a cool dry place, in an airtight container, for a few days.
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Just before serving, gently place the pavlova onto a serving plate. Whip the cream with your electric mixer until soft peaks form and then mound the softly whipped cream into the centre of the pavlova. Arrange the fruit on top of the cream. Serve immediately as this dessert does not hold for more than a few hours and you want to keep the shell nice and crispy.
Place egg whites in a clean bowl and beat on medium-high with an electric mixer until they hold soft peaks.
4
Start adding the sugar, a tablespoon at a time, and continue to beat until the meringue holds very stiff peaks. (Please note – you MUST add the sugar slowly. If you dump all the sugar into the whites at once, especially before starting to beat the whites, you will have an epic fail. Remember this is physics!) This will take a little while so be patient. It will result in a meringue that is lovely, thick and glossy.
5
Sprinkle the vinegar and cornstarch over the top of the meringue and, with a rubber spatula, fold in GENTLY. (For the pavlova, we are using 73
book extract
Photo Credit pg 247 Auckland Libraries 34-B13C Berlei advertising Photo, Clifton Firth, c.1938
Sartorial Elegance In the early 20th century, male clothing in New Zealand tended to be heavy, drab and shapeless. The images in this chapter offered an alternative to this pervading monotony of style, and even brand names – such as Regency – seemed to promise sophistication. The tyranny of the three-piece suit came under threat from sports coats and trousers (ideally with permanent creases), and those were the days when a well-dressed man wore a hat – quite possibly a Wellesley. One such image here exploited the wellknown wartime slogan ‘Loose Talk is Dangerous: Keep it under your Wellesley’. In today’s increasingly casual climate, the wardrobes of previous generations can look uncomfortably formal. The dramatic shift in women’s fashion is well documented, right from the sensible shoes of the early 1900s to the more alluring lines of mid74
century lingerie, while a landmark event was the growing acceptance of slacks in the 1950s. Another post-war development was the use of the ‘Well Made New Zealand ’symbol, proudly supporting local industry, as seen on advertisements for the Wellington Woollen Manufacturing Company’s Petone products. Meanwhile, modern New Zealand men welcomed the support of Y-front Jockey underwear, introduced from America. From around 1940 it was made under licence in Christchurch by Lane Walker Rudkin, a lost but once hugely-celebrated name in this country’s much-depleted clothing industry. And who would have thought that some of the best dressed men, suits tailored to order, would reside in Te Kuiti? Promoting Properity: The Art of Early New Zealand Advertising (Craig Potton Publishing) RRP $79.95.
Below left: Image Credit pg 248 Auckland Libraries 7-C1830
Below left: Image Credit pg 254
The Equity Shoe Poster,
Collection of Peter Alsop
Chandler & Co (David Payne), c.1925
DSA Poster, Railways Studios, c.1950
Above right: Image Credit pg 255 Archives NZ Women’s fashion Artwork, Railways Studios, Above Right: Image Credit pg 249 Auckland Libraries 7-C1831
artist unknown
The Equity Shoe Poster, Chandler & Co (David Payne), c.1925
Below left: Image Credit pg 256 Private collection (courtesy of Hamish Thompson)
Below left: Image Credit pg 250 ,Collection of Peter Alsop
Flax is fashion Poster, Kate Coolahan, 1967
Mirror, August 1947 Point-Setter shirts by Lichfield advert, artist Unknown, 1947
Above right: Image Credit pg 257 Te Papa CA000478/006/0007 Canterbury ‘Catalina’ booklet Advert, Kate Coolahan, 1961 Above right: Image Credit pg 251 Collection of Peter Alsop Mirror, January 1934
Below: Image Credit pg 258-259
Matchless shoes Advert, artist unknown, 1933
Archives NZ Design (original artwork) Billboard, H. R. White Te Kuiti, Railways Studios, c.1940
Above: Image Credit pg 252-253 Collection of Barry Hancox The Monocole, June 1938 Figures cut out of adverts Hat adverts (Crean of Canada) Adverts, artists unknown, 1938 Figures cut out of adverts
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Below left: Image Credit pg 260 Collection of Peter Alsop Regency by Petone Poster, Railways Studios, c.1940
Above right: Image Credit pg 261 Alexander Turnbull Library Eph-E-COSTUME-1940-02Streamlined slacks by Petone Poster (4 sheet), Railways Studios, c.1940 Poster join lines removed Below: Image Credit pg 262-263 Alexander Turnbull Library Eph-H-COSTUME-1950-01 Tekau knitwear
Above: Image Credit pg 266
poster (2 sheet), Railways Studios, c.1940, Poster join line removed
Collection of Peter Alsop So apt ... a Wellesley Hat Poster, Railways Studios, c.1940
Image Credit pg 264 Alexander Turnbull Library Eph-D-COSTUME-1950-01 Lichfield ironcheater Poster, Railways Studios, c.1950
Above: Imaage Credit pg 267 Image Credit pg 265 Collection of Peter Alsop Grey Tone boys shirts Poster, Railways Studios, c.1950
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Archives NZ Wellesley & Lord Tony Billboard designs (original artworks), Railways Studios, c.1940
Below left: Image Credit pg 268 Collection of Peter Alsop Petone Woollens poster, Railways Studios, c.1940, 1 of 4 sheets (other 3 missing)
Above right: Image Credit pg 269 Collection of Peter Alsop Jockey poster (2 sheet), Railways Studios, c.1945, poster join line removed Below left: Image Credit pg 270 Alexander Turnbull Library ATL Eph-E-COSTUME-1940-01
Above: Image Credit pg 273
Petone woollens Poster (4 sheet), Railways Studios, c.1940
Archives NZ Various shoes Billboard designs
Poster join lines removed
(original artworks), Railways Studios, c.1940
Image Credit pg 274 Alexander Turnbull Library Eph-E-COSTUME-1940-03 Wellesley hats and shoes poster (4 sheet) Railways Studios, c.1940, poster join lines removed
Above right:Image Credit pg 271 Alexander Turnbull Library ATL Eph-E-COSTUME-1945-01 Petone woollens Poster (4 sheet), Railways Studios, c.1940 Poster join lines removed Left: Image Credit pg 272
Image Credit pg 275
Alexander Turnbull Library
Alexander Turnbull Library Eph-E-COSTUME-1940-05
Eph-E-CLEANING-1950s-02
Wellesley hats and shoes poster (4 sheet)
Bostock Poster, Railways Studios,
Railways Studios, c.1940, poster join lines removed
c.1950
Image Credit pg 276 - 277 Auckland Libraries 34-FLE-6 Women’s shoes Photo, Clifton Firth, c.1940
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Tremains Art Deco Weekend Very Vintage Day Out
19-23 February, citywide
5 April, Alexandra Park The Very Vintage Day Out is a festival where lovers of all things vintage come together for all-day entertainment, high tea, networking and shopping. Performers from around the country will entertain guests with dancing, music, and cabaret. We will also be crowning Miss Pinup New Zealand and patrons are encouraged to get into the spirit of the day by dressing up for spot prizes and photo opportunities. Take a photo next to the vintage cars and hot rods or sit back and enjoy all the vintage goodness.
The largest of all Art Deco events in Napier is the Tremains Art Deco Weekend in February. It includes more than 200 events, hundreds of 1920s and â&#x20AC;&#x2DC;30s cars, aerobatic flying displays, steam train rides, a Great Gatsby picnic, dinner-dance extravaganzas and free outdoor concerts to name a few. Many thousands of guests and locals alike dress in Deco style, bringing glamour to the city streets. Feel the atmosphere, live the era of mystique, if only for a few days. The celebrations are a major attraction, a must-see-and-do when visiting our lovely city and region.
Americarna 26 Feb-1 March Taranaki After a break last year, Americarna is back! This premier car event has cruises, a gymCARna and a Main Street AmeriCARnival with stalls, bands, and car displays. Although the cars will be out and about all weekend, the main focus will be on Main Street on Saturday. Come and be styled at the Pamper Parlour on level two of the shopping centre with Claire of The Vanity Case.http://www.americarna. com/Events/Americarna-2014/
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The Menagerie Variety Show 25 Jan and 29 March The Fringe Bar, 26 Allen Street, Wellington Enter the world of the odd, curious, intriguing and strangely compelling. The Menagerie is a regular variety night based in Wellington. Every show is different and will contain a mix of unique and talented performers. There will always be something to delight you. www.themenagerie.co.nz/
Retro, Recycled and Restored Market 1 Feb, 10am–4pm Frank Kitts Park, Wellington
NZ Petrolhead Vintage Market Beach Hop
All things vintage and retro will be on offer at this market. The underground market is a sure bet rain or shine. Come dressed up and be in to win spot prizes.
27-29 March 2014, Whangamata Memorial Hall 328 Port Road, Whangamata
Anissa Victoria’s vintage market Twilight Markets - 5-9pm 7 Feb, 14 Feb, 7 March, 4 April Weekend Markets, 22 Feb, 22 March, 12-4pm Pallet Pavilion, cnr Kilmore and Durham Streets The Beach Hop Vintage Market is a three-day indoor market at New Zealand’s biggest and most prestigious Hot Rod and Rock and Roll Festival. Celebrating vintage, retro and rockabilly with clothing, homewares, collectables, cosmetics and much, much more. Stop in and stay awhile: grab a bite to eat, shop for bargains, update your ‘do with legends Barber Shoppe or get glammed up for the hop with the gorgeous gals from The Vanity Case and Decadia Vintage. The Beach Hop Vintage Market has something for everyone, and is proudly bought to you by Retro America, where everything was brand new, 50 years ago.
Anissa Victoria’s Vintage Market is an ongoing community event. Vintage clothing, jewellery, retro records, crafts, collectables, silverware, military merchandise, bric-a-brac, homemade food, books, accessories, vintage reproduction clothing, live music, belly dancers, swing dancers, a cafe and bar!
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THE TEAM Editors/ Publishers: Rose Jackson, Natasha Francois, Claire Gormly - editors@glorydaysmagazine.com Sub Editor: Miriam Sharland Contributors: Carlos De Treend, Claire Gormly, Claire Regnault, Debbie Hodder, Grace La Belle, Luke de Large, Leimomi Oakes, Malayka Yoseph, Mandy Neugebauer, Mark Roulston, Melanie Freeman, Natasha Francois, Rose Jackson, Sarah Lancaster, Tina Turntables, Von Vonski Photographers: James Yang for Little Death Photography, Tiffany Curtis Photography, Claire Gormly, Rose Jackson, Talia Stephens Art Director: Stephen Templer Designers: Nathalie Gregory, Amy Shannon, Samara Pepperell Pre Press: Nathalie Gregory Publicity & Events: Natasha Francois, Rose Jackson Advertising & Event Listings: Claire Gormly advertising@glorydaysmagazine.com
Published by Glory Days Publishing Ltd. ISSN 2357-1624 (Print) ISSN 2324-3368 (Online) Date of publication: February 2014 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 make any transgressions. Do get in touch if you feel that your work has not been properly acknowledged and we will right any wrongs. The editors would like to thank the following people: Everyone who championed Glory Days in its first year of existence... without the love and support of our dear readers, clever designers, amazing writers and talented photographers we would not have been able to get our baby to print. Christina Sayers-Wickstead â&#x20AC;&#x201C; the best magazine mentor we could ever hope for, we are so grateful for your invaluable advice. Destination Manawatu â&#x20AC;&#x201C; such a pleasure to come and spend time in your fair region. Thank you for being the most delightful and generous hosts! Printed in Wellington, NZ by:
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h Subscribe before 31 March 2014 to go into the draw too win a copy of the beautifull tyy book Promoting Prosperity n which has been featured in this issue, and has a retail value of $79.95, how aboutt that for a cherry on top!
Lost for words?
Exquisite Expressions will bring to life the words you’ve been searching for... t Speeches t Performance & Business Promotion t Good ole’ fashioned letters for lovers, friends and family
Exquisite Expressions are the perfect gift for any occasion
Siobhan Kelly 021 112 1992
pr int d esign pho t o gr aphy illust r at io n and mo r e n a t h a l i e . p. m . g r e g o r y @ g m a i l . c o m
vonskaya@gmail.com
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Handmade clothing, jewellery, accessories
Select Retro & Vintage Pieces
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Vintage beauty and style www.decadiavintage.com
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