Style: July 01, 2022

Style | Feature 25
can use their rail systems, but in Dunedin, I realised that if I could convince
150 people to pay a little extra on their ticket, we could afford to charter a
Dunedin Railways train. It’s one of the most rewarding things I’ve ever done.
I thought that would fix the bug I’d developed for the topic, but I was
wrong. In 2020, I accepted a committee role representing Whanganui
District Council on public transport matters, and when the tender came
up for our most unique public transport service – The Durie Hill Elevator
– I entered because I wanted to see it retained, and improved as public
transport, as well as a visitor experience.
It’s a symbol of the way Whanganui built its city and its housing around
public transport, and I’d like it to remain the jewel in our network as the
buses improve around it. We have a great team of eight people, and most of
us do two-to-three half-days a week. I love the process of starting the day
with a simple, repetitive act of service – it’s charming, boring, and it helps put
the rest of your tasks in a better context.
What were a couple of the most memorable South Island moments/
experiences for you during the Rail Land tour?
The Port Chalmers Town Hall has become really special to me in the last
couple of years – I’ve done two of Nadia
Reid’s Christmas shows there, and it’s just
a beautiful environment to play in. My
sound engineer, Mal, says the room itself is a
musical instrument.
But I’ve always played there solo. To be able
to come back with a five-piece band, with a
larger stage, and with more PA and lights than
we’ve ever used was really something else.
It’s special too because Stuart Harwood
(drums) and I are both from Dunedin, and
Brooke Singer, our keyboardist, used to come
down with her band from Christchurch and
share bills with our bands, sleeping on floors.
It’s taken a lot of time since to be able to bring
something of this scale home.
You have a distinct sense of style, and
I know Karlya is an amazing stylist.
Especially with what you wear when
performing or in promotional stuff, is
your look/aesthetic more directed by her
or, a bit of a collaboration, or all you?
It’s mostly all Karlya! She calls me her most
difficult client. When she met me, I’d taken
to wearing 80s polyester suits from the op
shops – she got me thinking about better
fit and natural fibres, and she’s always willing
to think outside the box, whether that’s
repurposing odd items for flourishes, or trying
womens’ labels when menswear doesn’t fit or
doesn’t work.
She also introduced me to Doran & Doran
[bespoke tailors] in Auckland, and I’ve used
a lot from their ready-to-wear collections.
I like how they make combinations that have
the presence of a suit, but the comfort and
flexibility of casual wear – their Tokyo jacket
[pictured] can be worn in formal situations,
can be used as a blanket on a plane, or
scrunched up in a bag like a jersey.
Is that your living room in our cover
photo? And again, who’s responsible for
the aesthetic?
Our home style is all Karlya again. She’s always
moving furniture and artworks around, and
I’m proud of how welcoming she has made
that room.
Plans for the year ahead?
Over the lockdowns I set up a writing and
recording studio in the backyard – something
I’ve been working towards for five years. I’ve
just wiped my white board clean, and I’m
looking forward to going back to the practise
– writing songs for no reason. There’ll be
shows again soon, I’m sure, but for now I’m
looking forward to playing the piano and not
knowing what will come out.
ABOVE: Inside Whanganui’s Durie Hill Elevator. Photo Karlya Smith