CENTRAL OTAGO COUTURE
page 001
Following
Vinka Lucas evening dress, early 1970s. Sequinned fabric and chifon, EH57.
Photographed at Home Hills Runs Road, 2024
CENTRAL OTAGO COUTURE
THE EDEN HORE COLLECTION
Jane Malthus Claire Regnault
Photographs by Derek Henderson
CONTENTS
NOW WHEN I LOOK AT ALL THE DRESSES, I WONDER HOW THE DEVIL I GOT SO MANY.
Eden Hore, 19961
J EDEN HORE: SOLDIER, FARMER, COLLECTOR
Jane Malthus
could be petted and fed by visitors. Aiming to cater for New Zealand families as well as tourists from further afeld, Eden planned to ofer something for everyone.
Following the renovations, in early April 1975 he hosted around eighty South Island travel agents at a grand opening of his ‘special showroom’. He gave them a taste of what he could ofer tourists, whether New Zealanders or international visitors. The agents were taken on a four-and-a-half-hour safari up past the Mount Buster gold diggings and Mount Kyeburn, then down to the Danseys Pass Hotel for drinks and food before visiting the showroom for a fashion parade of eighty garments with models from Dunedin. ‘I hope eventually to have stereo music playing in the gallery and to lay concrete outside so that models can walk outside and around the gardens,’ Eden told the assembled company.116
At the time of its launch, the showroom displayed about 120 gowns in glass-fronted wardrobes.117 It also featured Miss New Zealand memorabilia, and dolls in national costume and other souvenirs from his travels he had travelled to over ffty-fve countries, he claimed in two smaller cases.118 Eden said he attracted about thirty busloads of tourists a year, each person paying about $1 entry, but he obviously hoped that the travel agents might help to increase that number.119
EDEN’S FASHION MUSEUM took its design ethos from displays by other dedicated collectors (such as Sir John Soane in London, whose crammed house and museum he may have seen on one of his trips) rather than from carefully curated and edited exhibitions. Everything was on show here. On entering the Tractor Shed in the 1980s, visitors encountered a startling tableau of about thirty taxidermied animals, all of which had spent part of their lives on the farm. A coyote, dingo, wild boar, bull yak, red deer, lambs and rabbits were arranged around one end of the entrance space. On the other side visitors could peruse photos of models wearing the gowns in the garden or at fashion parades, and articles about the collection.
The main showroom was memorable for the sheer number of things in it. Visible storage wardrobes full of clothes, dolls and other paraphernalia lined the walls and centre of the room. One end of the space was higher, like a stage, with steps and a ramp. Of to one side was a changing room with more wardrobes where visitors could try gowns on, pretend to be models on a catwalk, and hire dresses for events. Some of the fashion was likely bought for this purpose, such as the Mary Charmaine label dresses from Australia, which were simpler, more wearable gowns than many of the others.
The space was arranged to allow visitors to move freely and see everything, although the dresses were mostly on hangers in the wardrobes and rather crowded in places. A few outfts were placed on ex-shop mannequins, either in wardrobes or perched on the shorter display cases. Because of the building’s former life as a garage for tractors, the ceilings were high enough to allow things to be displayed on top of wardrobes, so Eden had set about collecting items to fll those spaces too.
Large vintage-costumed dolls produced by the American Franklin Mint company in the 1970s appeared on top of and in the wardrobes, and a Don Quixote Lladro porcelain table top sculpture bought with $9000 in cash in the 1980s took pride of place in a central case. And, as Richard Worrall
Above
The rare white peacock from Eden Hore’s aviary. Courtesy of Alma McElwain estate.
Left Eden’s taxidermied animals in the entry area of the Tractor Shed during the years when John and Margaret Steele were living at Glenshee (c.1997–2014). Courtesy of Jo Dowling.
Below
The Tractor Shed in about 2000, showing cases flled with gowns and collectables stacked on and in the cases. Courtesy of Jo Dowling.
INTO THE COLLECTION
AUCKLAND
DESIGNERS WOULD SEND ME THEIR CATALOGUES WITH OVERSEAS FABRIC SAMPLES, AND I . . . PICK[ED] OUT THE MATERIAL I LIKED AND THEY’D MAKE IT UP AND SEND IT TO ME.
Eden Hore, 19901
FABRICS, FASHION AND DESIGNERS
Jane Malthus
004
Pat Hewitt (One Only) dress, 1976. Acetate, polyester sheer and ribbons, EH130.
all afecting forward planning and development. But the decade did allow the country to fex its individuality in textile choices and not follow fashion so sheepishly anymore.
Designer fashion in the 1970s was extraordinarily eclectic, and colour palettes in fabrics and clothes veered towards ‘conspicuous outrage’, to use Quentin Bell’s phrase.49 Young people were ignoring the fashion dictated from on high, curating their own appearances from separates, and second-hand and jumble-sale fnds. The 1973 oil crisis led to infation and a more serious mood, more cautious buying and even a tidier, more organised fashion. 50 It also prompted the textile industry to develop smarter production systems, using computers in textile production, dyeing, printing, knitting, and garment production (pattern grading, lay marking, cutting). Evening wear especially was considered a shrinking market. Although the designers Vinka Lucas, Colin Cole and Kevin Berkahn survived this purge, their businesses were changed by it, and others represented in the EHCO collection ceased trading. In the 1980s Kevin Berkahn travelled overseas each September to source fabrics for the evening and bridal wear he still produced, but found it harder to aford the fne wools he liked. Pricing, supply issues and industry changes in 1980s New Zealand meant that the designers represented in the EHCO collection were unlikely to have come to prominence at that later time.
The EHCO collection survives as a vibrant and crucial reminder of famboyant creativity in the 1970s and the many social, economic and cultural transformations that afected the manufacturing, marketing and use of textiles and fashion in the later twentieth century.
Photographed at Blue Lake, St Bathans, 2019
I
AM
A
GREAT
LOVER
OF
ANYTHING THAT IS MADE FROM WOOL, SKIN, SUEDE, OR ANYTHING THAT IS GROWN ON MY PROPERTY.
Eden Hore, 19791
FARM TO FASHION
Claire Regnault
Following page 006
Jo Dunlap jacket, gauchos, camisole and cap, 1979. Leather and deer hide, EH213. Photographed at Ophir with Pippi the miniature horse, 2024
Jo Dunlap’s sketches refect her interest in science fction and in designing for characters. These sketches depict garments that are part of the EHCO collection. Clockwise from above: Solar Flare, Morgana, Royal Centuria. See also plates 076, 077. EHCO (EH424, EH431a, EH434).
BY THE TIME I HAD 50 OR 60 GARMENTS
I STARTED INCLUDING SOME OF THE BENSON AND HEDGES CLOTHES THAT WERE OFFERED TO ME, WITH SEQUINS AND WHAT HAVE YOU.
Eden Hore, 19901
COMPETITIVE FASHION
Claire Regnault
Opposite
Dressed in a futuristic jumpsuit by Miranda Joel of Pussyfooting, Monica Johns stunned punters at both the Ellerslie Races and the Melbourne Cup in 1977. In keeping with the changing times, Eden Hore added a similar version to his collection. Fairfax Media.
Right
Miranda Joel (left) and Suzy Farrow pose outside Pussyfooting in Kitchener Street, Auckland.
of Miranda Joel.
spotted the lace languishing in the Dunedin showroom of the Auckland wholesalers Angus Fabrics, and purchased it for a mere $4 a metre.
Maritza Tschepp frst entered the awards in 1976, her fnal year at polytechnic, with Feeling hot pinkish, a joyful foral dress with a Thai silk underskirt and oversized sash and bow at the waist.8 The following year she entered four garments and not only won the Gown of the Year and Supreme Award with Vision of an eccentric angel, but was also highly commended in the Young Designer and Women’s Daywear categories with Mid-afternoon fight to Moscow (plate 079), which Eden also acquired. A wintery cream singleknit wool jersey dress with long cufed sleeves and a draped tube collar, and a cream-and-brown jacquard weave jacket, a plaid shawl trimmed with braid and a mink-trimmed hat, Mid-afternoon fight to Moscow refected the current vogue for all things Russian. It was a trend set in motion by Yves Saint Laurent’s opulent and wildly successful 1976 collection Opéras Ballets russes, which was characterised by jewel-like colours and luxurious textiles including fur, wool, silk and metallics. Eden purchased a total of twelve garments by Maritza Tschepp, including all of her B&H Award entries from 1976 and 1977, and her Pretty Pierrot collection from 1978, an experiment in geometric pattern cutting.9 In 1979, Tschepp left New Zealand for London to undertake a Master of Arts in Fashion at the Royal College of Art. She subsequently worked for Catherine Walker of the Chelsea Design Company as a designer and pattern cutter, and made hard-wearing performance clothes for her neighbours’ band the Thompson Twins, which featured New Zealander Alannah Currie on percussion.10
Courtesy
INTO THE LANDSCAPE
Kevin Berkahn evening dress, 1973. Wool crepe, EH11. Photographed at Home Hills Runs Road, 2024
Following pages 010
Kevin Berkahn day dress, 1973. Sheer synthetic fabric, EH22. Photographed at Little Valley Road, Alexandra, 2024
Kevin Berkahn evening dress, 1973. Synthetic with feathers and swansdown, EH34.
Photographed at Mitchell’s Cottage, Fruitlands, 2024
Rosalie Gwilliam trousers and cape, 1974. Aqualana wool jersey and embroidery thread, EH199.
Photographed at Mount Buster, Naseby, 2019
023
Kevin Berkahn evening dress, 1973. Pleated tafeta rufes on nylon net, EH23. Photographed at Little Valley Road, Alexandra, 2024
(And detail on previous page)
jacket and skirt, c.1975. Printed rayon velvet, EH102. Photographed at Clyde, 2024
Hullabaloo
035
Wapiti Handcrafts waistcoat and skirts, c.1974. Deer suede, EH157, EH158. Photographed at Naseby Playground, 2024
Following pages 036
Kevin Berkahn evening dress with attached cape, early 1970s. Nylon net with Lurex and cotton velvet dots, EH18. Photographed at Poolburn Reservoir, 2024
Lucas (After Five) evening dress and cape, early 1970s. Lurex, printed sheer and feathers, EH60. Photographed at Bannockburn, 2019
Vinka
(And detail on following page)
089
Vinka Lucas (Maree de Maru), The Gatsby Look, 1974. Nylon organza, synthetic brocade, beads, sequins and ostrich feathers, EH59.
Photographed at Poolburn Reservoir, 2019
NOTES ABOUT EHCO ABOUT THE AUTHORS ABOUT THE PHOTOGRAPHER
ACKNOWLEDGEMENTS INDEX
NOTES
J Eden Hore: Soldier, Farmer, Collector
1 Richard Worrall, ‘Fashion on the farm’, New Zealand Geographic, no. 29, Jan–Mar 1996, p. 118.
2 Jane Malthus and Rae Vernon, New Zealand Fashion Flair of the 70s: A Catalogue Accompanying the Exhibition ‘One Man’s Fantasy A selection from the Eden Hore Collection of High and Exotic Fashion Garments of the 1970s’, Otago Museum, Dunedin, 1989.
3 Ren Lothian, interviewed by Shirley Howden and Paula Penno, 8 August 2017. Eden Hore Central Otago collection.
4 Mountain Scene, 16 June 1977, p. 16.
5 Julie Riley, Men Alone, Heinemann Reed, Auckland, 1990, p. 80.
6 Cowichan sweaters had distinctive graphic patterns on a cream or beige background. They were popular handknits for men in early to mid-1970s New Zealand.
7 Tim Walker Associates, High Country/High Fashion: Eden Hore Collection Feasibility Study, Central Otago District Council, May 2016, p. 16.
8 Peter York, Modern Times, William Heinemann, London, 1984, p. 10.
9 Overseas, the Fashion Museum at Bath began its dress of the year collection in 1963, and the Victoria and Albert Museum was just beginning a contemporary designer collection in 1970. Bronwyn Labrum, ‘Expanding fashion exhibition history and theory: Fashion at New Zealand’s national museum since 1950’, International Journal of Fashion Studies, vol. 1, no. 1, 2014, pp. 97–117.
10 Birth certifcate, James Eden Hore, Registrar of Births, Deaths and Marriages, New Zealand.
11 Mervyn Robert Hore, Hore Family Tree 1475–1998, unpublished document.
12 Camille Alabaster, interviewed by Jane Malthus, 15 December 2022.
13 Bernard Tripp, letter to editor, Otago Daily Times, 15 June 1933, p. 9.
14 ‘Annual Vacations Kyeburn’, Otago Daily Times, 26 December 1933, p. 10.
15 Camille Alabaster, interviewed by Jane Malthus, 15 December 2022.
16 Home sewing was the primary source of women’s clothes until at least the 1960s with skills being passed down the generations. ‘Home Sewing in New Zealand’,
New Zealand Fashion Museum, www.nzfashionmuseum.org.nz/ home-sewing-in-new-zealand, accessed 19 July 2024.
17 Georgina White, Light Fantastic: Dance Floor Courtship in New Zealand, HarperCollins, Auckland, 2007, p. 90.
18 ‘Weddings’, Otago Daily Times, 1 February 1941, p. 14.
19 Jo Little, ‘Embodiment and rural masculinity’, in Hugh Campbell, Michael Mayerfeld Bell and Margaret Finney (eds), Country Boys: Masculinity and Rural Life, Pennsylvania University Press, University Park, PA, 2006, pp. 183–202.
20 Wingatui Racecourse was also a base for home-based divisions of the New Zealand Army. ‘Courage and valour New Zealanders in the Italian Campaign’, newzealandersatwar.com/Extra_Army_Camps; The Lothians, the-lothians.blogspot. com/2016/04/the-otago-mounted-rifes-training-camps, accessed 16 January 2024.
21 New Zealand Military Forces History Sheet for 7/265028 (James Eden Hore). For example Margaret Steele, interviewed by Jane Malthus, 20 April 2024.
22 NZMF History Sheet for 7/265028 (James Eden Hore).
23 Eden Hore, ‘Eden’s Story’, unpublished manuscript, fle 19167, Central Otago District Council (CODC) Archives, p. 14. He disembarked 5 January 1943 in Egypt, according to his NZMF History Sheet.
24 Hore, ‘Eden’s Story’, p. 15.
25 Ibid., p. 16.
26 David Crutchley, interviewed by Jane Malthus, 9 May 2024.
27 Established in 1925 as a private museum. ‘Museum of Hygiene, Cairo’, UNESCO Digital Library, unesdoc.unesco.org/ark:/48223/ pf0000010156, accessed 19 July 2024.
28 Hore, ‘Eden’s Story’, p. 17.
29 He was admitted to hospital on 4 August 1943 and discharged to convalesce 28 August 1943 according to NZEF Hospital or Sick List Record Card. His Field Medical Record notes several bouts of pneumonia during his overseas service.
30 Hore, ‘Eden’s Story’, p. 24.
31 Ibid., p. 26; ‘Eruptions in the 20th century’, Wikipedia, en.wikipedia.
org/wiki/Mount_Vesuvius# Eruptions_in_the_20th_century, accessed 16 January 2024.
32 Hore, ‘Eden’s Story’, p. 30.
33 NZMF, Personal Record 7/265028. He was discharged 9 December 1945.
34 Hore, ‘Eden’s Story’, p. 34.
35 Ibid., p. 31.
36 Marriage Certifcate 1947000676, Registrar of Births, Deaths and Marriages, New Zealand. Cemeteries search, Dunedin City Council, www.dunedin.govt.nz/ services/cemeteries/cemeteriessearch?recordid=39690&type= Burial, accessed 19 July 2024.
37 Jo Steele, interviewed by Shirley Howden and Paula Penno, 6 July 2017.
38 Riley, Men Alone, p. 73
39 Ibid., pp 73–74.
40 Vivienne Elizabeth, ‘Gender inequalities are a thing of the past. Yeah, right!’, in Avril Bell, Vivienne Elizabeth, Tracey McIntosh and Matt Wynyard (eds), A Land of Milk and Honey: Making Sense of Aotearoa New Zealand, Auckland University Press, 2017, pp. 212–23.
41 David Crutchley, interviewed by Jane Malthus, 9 May 2024.
42 This price has recently been queried. Rhodes Donald, ‘Did wool ever sell for a pound a pound in 1951?’, Polson Higgs Wealth, 24 July 2020, phwealth.co.nz/knowledge/ did-wool-ever-sell-for-a-pound-apound-in-1951, accessed 24 July 2024.
43 Ibid.
44 ‘Fashion show by cattle rancher’, Southland Times, 10 February 1977.
45 For example, David Crutchley, Ken Gillespie and Margaret Steele, interviewed by Jane Malthus, 9 May 2024; ‘Cattle farmer’, TVNZ interview footage, 1974, Eden Hore Central Otago (EHCO) collection.
46 Riley, Men Alone, pp. 74, 77
47 David Crutchley, interviewed by Jane Malthus, 5 July 2024.
48 Cemeteries search, Dunedin City Council, www.dunedin.govt.nz/ services/cemeteries/cemeteriessearch?recordid=31002&type= Burial, accessed 19 July 2024.
49 ‘From the sublime to the ridiculous’, two-page advertisement for Glenshee Miniature Horse Stud, unattributed publication, c.1990, fle 19167, CODC Archives.
50 The term land girl was derived from the Women’s Land Service in the Second World War, but continued to be used in peacetime for women working on farms.
51 Such advertisements were anonymous and rather general at this time.
52 Frances McCone and Tania McCone, interviewed by Jane Malthus and Ruenell Wing, 15 December 2022.
53 Jo Steele, interviewed by Shirley Howden and Paula Penno, 6 July 2017.
54 Frances McCone and Tania McCone, interviewed by Jane Malthus and Ruenell Wing, 15 December 2022.
55 People who knew Alma at this time all mentioned what a hard worker she was.
56 Riley, Men Alone, p. 77.
57 Camille Alabaster, interviewed by Jane Malthus, 15 December 2022. Alma’s documents are items and photos she kept, relating to her time at Glenshee, and are held by her family.
58 ‘A fashion oasis on the farm’, Otago Daily Times, 31 May 1975, p. 17; Arlette Grifn, ‘Glamour in the tractor shed!’, New Zealand Woman’s Weekly, 12 July 1976, p. 24; Worrall, ‘Fashion on the farm’, p. 118.
59 Lynne Wenden, ‘Glenshee ranch draws tourists to Maniototo’, Otago Daily Times, 15 November 1980, p. 19; Frances McCone and Tania McCone, interviewed by Jane Malthus, 15 December 2022. The Pigroot is the road between Palmerston and the Māniatoto.
60 Frances McCone and Tania McCone, interviewed by Jane Malthus, 15 December 2022.
61 Eden Hore Central Otago now has three garments Eden bought for Alma as adjuncts to its main collection: a Lewis Townsend dress with feather-trimmed cape of the late 1960s, a Kevin Berkahn sequinned trouser suit c.1970, and a Bernat Klein fabric coat designed by Colin Cole in the late 1960s.
62 Riley, Men Alone, p. 77.
63 ‘Cattle farmer’; Lee Harris, ‘Naseby farmer’s prize collection’, Otago Daily Times, 27 July 1989, p. 22.
64 Fashion Corner shop docket, Alma McElwain documents, private collection.
65 ‘Margaret Farry’, Otago Daily Times, 20 May 1965, p. 11.
66 ‘Vanity Walk Fashion Centre’, Otago Daily Times, 20 May 1965, pp. 11–12. Tom later had hospitality and joinery business interests.
67 Grifn, ‘Glamour in the tractor shed!’, 12 July 1976, p. 26.
68 Unattributed newspaper clipping, 27 February, late 1960s, in Alma McElwain documents, private collection; Frances McCone and Tania McCone, interviewed by Jane Malthus, 15 December 2022.
69 Alma McElwain, interviewed by Jane Malthus and Shirley Howden, 15 September 2017.
70 ‘The day the Beatles rocked staid Dunedin’, Otago Daily Times, www. odt.co.nz/news/dunedin/day-beatles-rocked-staid-dunedin, accessed 19 July 2024.
71 ‘From Naseby to Tennessee is a long time’, Evening Star, 22 September 1966, p. 4.
72 Riley, Men Alone, p. 78.
73 TVNZ interview footage, c.1974, EHCO collection.
74 ‘The Miss New Zealand Contest: May the best girl win?’, Thursday, 24 June 1971, pp. 4–5, 12–13, 32.
75 Gay Williams, interviewed by Jane Malthus, 28 May 2024.
76 ‘A fashion oasis on the farm’; Grifn, ‘Glamour in the tractor shed!’, p. 24.
77 Alma McElwain documents, private collection.
78 Paper advertisement from Alma McElwain documents, private collection. Chain stepping, popular at farming shows in the 1950s and 1960s, was pacing out a length of chain to measure it; the nearest guess to the actual length won.
79 Board of Managers, letter to Eden Hore, 20 November 1970, in Alma McElwain documents, private collection.
80 Alma McElwain, interviewed by Jane Malthus and Shirley Howden, 15 September 2017.
81 ‘J. Eden Hore “out of this world” collection’, unattributed newspaper clipping, c.1977, fle 19167, CODC Archives.
82 ‘A fashion oasis on the farm’.
83 John Steele, interviewed by Tim Walker, Paula Penno and Shirley Howden, 2 May 2016; Frances McCone and Tania McCone, interviewed by Jane Malthus, 15 December 2022.
84 Alfred Hickling, ‘The Queen of the North review’, Guardian, 8 May 2012, www.theguardian.com/stage/ 2012/may/08/queen-of-the-northreview, accessed 1 August 2024.
85 Eden Hore, letter to June Mercer, 21 March 1979, EHCO collection. Alma worked for Viv Anngow for about twenty years.
86 In hindsight, Alma did regret leaving. Alma McElwain, interviewed by Jane Malthus and Shirley Howden, 15 September 2017.
87 Jo Steele, interviewed by Shirley Howden and Paula Penno, 6 July 2017.
88 Nick Ainge-Roy, ‘The fashionable farmer’, 1964, no. 9, Autumn 2022, pp. 17–23.
89 Margaret Steele and Jo Dowling, interviewed by Jane Malthus, 9 May 2024.
90 David Crutchley, interviewed by Jane Malthus, 9 May 2024.
91 Alma McElwain, interviewed by Jane Malthus and Shirley Howden, 15 September 2017.
92 Otago Daily Times, 27 July 1989, p. 22; Joanna Wane, ‘Hard land: Central Otago characters’, Southern Skies, June 1993, p. 49.
93 Kevin Berkahn, interviewed by Jane Malthus, 14 January 2016.
94 ‘Fashion for export: Kevin Berkahn’s New Zealand’s world of fashion show’, Eve, November 1971, p. 8.
95 Kevin Berkahn, interviewed by Jane Malthus, 14 January 2016. There is some confusion over the spelling of Ana’s last name. It is possibly ‘Nielson’.
96 ‘Fashion for export: Kevin Berkahn’s New Zealand’s world of fashion show’, p. 8.
97 Ibid.
98 ‘London showing of N.Z. fashions’, Press, 25 September 1971, p. 7.
99 Ibid
100 Kevin Berkahn with Maggie Blake, Berkahn Fashion Designer, HarperCollins, Auckland, 1999, p. 66.
101 ‘Wanted: A national costume’, New Zealand Woman’s Weekly, 5 November 1973, p. 23; Berkahn with Blake, Berkahn Fashion Designer, pp. 67–69. These dresses are not part of EHCO.
102 EH44. When the EHCO collection was acquired by the Central Otago District Council, each garment and piece of ephemera was given a unique identifcation number beginning with EH. These numbers appear in the captions, and also in the notes when a garment is mentioned in the text but not illustrated.
103 Ann Lloyd, ‘Fashion spectacular in Sydney by a Kiwi!’, New Zealand Woman’s Weekly, 17 September 1973, pp. 16–18.
104 ‘Sydneyside with Janet Parr’, Press, 22 August 1973, p. 7.
105 Berkahn with Blake, Berkahn Fashion Designer, pp. 38–40 Kevin bought many of these fabrics from John Kaldor Fabricmaker, established in Australia in 1970. David Jones in Sydney stocked Berkahn wedding dresses. That and the shop made him eligible for the Opera House parade.
106 Ibid., p 56.
107 Lloyd, ‘Fashion spectacular in Sydney by a Kiwi!’, p. 16.
108 Undated newspaper clipping, summer 1973, in Alma McElwain documents, private collection.
109 Margaret Farry-Williams, interviewed by Jane Malthus, 17 November 2006.
110 Riley, Men Alone, p. 78.
111 ‘Auctions’, Press, 3 November 1973, p. 44; ‘Auctions’, Press, 10 November 1973, p. 42. In 1972 he had transported and sold 785 head of cattle at Burnside. ‘Stock auctions’, Otago Daily Times, 11 November 1972, p. 31; Ken Gillespie, interviewed by Jane Malthus, 9 May 2024. Two drovers per mob, they either walked with the cattle or drove trucks.
112 John and Margaret Steele, interviewed by Tim Walker, Paula Penno and Shirley Howden, 2 May 2016, CODC Archives.
113 For example, Grifn, ‘Glamour in the tractor shed!’.
CENTRAL OTAGO COUTURE: THE EDEN HORE COLLECTION
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