03 Magazine: March 31, 2023

the
South
island
lifestyle
magazine
FREE | april 2023
DOUBLE DENIM: MEG GALLAGHER’S CREATIVE SHIFT TO DUNEDIN | A SNEAK PEEK INSIDE SIR MILES WARREN’S ICONIC
DORSET STREET FLATS | FOR THE LOVE OF LOCAL: THE OTAGO FARMERS MARKET TURNS 20 | CANTABRIAN KATE WILLIAMS
SHARES SOME STYLISH TIPS FOR HOME | FROM PARIS TO CLYDE: MARIELLE VAN DE VEN DESIGNING SUSTAINABLE
FASHION FROM DOWN SOUTH | BRI DIMATTINA’S DELICIOUS ITALIAN-INSPIRED GARDEN-TO-TABLE RECIPES

Burlington
Lifestyle Village

Burlington’s activity schedule is packed with cabarets, gala
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Comfortably
off the grid.

Win a double pass to the Hollyford
Wilderness Experience.
A four-day, three-night all-inclusive guided walk
through the spectacular Hollyford Valley.
Described by guests as a “trip of a lifetime” and an
“absolutely unforgettable experience”, we are proud
winners of the New Zealand Tourism Visitor
Experience Award, which recognises our commitment
to meeting and exceeding the expectations of visitors.
Located in Fiordland National Park, the remote and
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forest, thunderous birdsong, and a rich New Zealand
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Traverse the valley by foot, jetboat and helicopter.
Enjoy first rate cuisine and personal service in our
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Enter the competition today and be in to win.
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Limited spaces available, bookings now open.

6 Magazine | Editor’s note
Hello
While it wasn’t intentional (and of course we always try
to include content from this city), you’ll find a strong
Dunedin flavour to this issue – from our incredibly cool and
creative covergirl Meg Gallagher (page 28) who has found
fresh inspiration in the southern city to our in-depth look
at the Otago Farmers Market (page 34), a foodie institution
that sprung up at the Railway Station car park 20 years ago,
and a deliciously dark cocktail recipe from the historic Fable
Hotel’s The Press Club bar (page 66).
Perhaps it’s because I have iD Dunedin on my mind, one
of my favourite events on the New Zealand fashion calendar
and one that I’ve attended ten previous times and loved
every time – even the chilly ones, brrr.
I’ll be there again this year of course – my first as a South
Island resident – and am bringing extra copies of this issue
(several hundred in fact) with me for you to pick up on show
nights (March 31 and April 1), so look out for our stands.
I’ll also be attending as many of the amazing fashion-related
events as I can, including Meg’s show opening at OLGA
gallery on Saturday afternoon (which runs across April).
Hopefully see you at one or all of the above (do say hi!)
– but if you can’t make it, I hope you can enjoy some South
Island-celebrating content vicariously via these pages.
PUBLISHER
Charlotte Smith-Smulders
Allied Press Magazines
Level 1, 359 Lincoln Road, Christchurch
03 379 7100
EDITOR
Josie Steenhart
josie@alliedpressmagazines.co.nz
DESIGNER
Emma Rogers
PROOFREADER
Mitch Marks
EDITORIAL ASSISTANT
Hannah Brown
ACCOUNT EXECUTIVE
Janine Oldfield
027 654 5367
janine@alliedpressmagazines.co.nz
CONTRIBUTORS
Anna McLeod, Bri DiMattina, Joshua Brosnahan,
Kate Williams, Lottie Hedley, Meg Gallagher,
Neville Templeton, Peter Vangioni, Rebecca Fox,
Robyn Joplin, Sarah Rowlands
Every month, 03 (ISSN 2816-0711) shares the latest in lifestyle, home,
food, fashion, beauty, arts and culture with its discerning readers.
Enjoy 03 online (ISSN 2816-072X) at 03magazine.co.nz
Allied Press Magazines, a division of Allied Press Ltd, is not responsible for any actions taken
on the information in these articles. The information and views expressed in this publication
are not necessarily the opinion of Allied Press Ltd or its editorial contributors.
Every effort is made to ensure the accuracy of the information within this magazine, however,
Allied Press Ltd can accept no liability for the accuracy of all the information.
Josie Steenhart, editor
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BLUEBOOK + MARKET REPORT
LATEST DIGITAL
ISSUE OUT NOW
Helping you to make a more informed decision when it comes to property
Scan here to view
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Highland Real Estate Group Ltd Licensed Agent REAA 2008

8 Magazine | Contents
In this issue
22
FOOD
61 Garden to table
Italian-inspired recipes from Bri DiMattina
COVER FEATURE
28 Double denim
From the catwalk to the
canvas, a Dunedin designer
finds her way home
FASHION
24 Not just for nanas
Where cardigans meet cool
40 From Paris to Clyde
Ethical brand ReCreate has
come a long way
HOME & INTERIORS
22 Most wanted
What the 03 team are coveting
right now
44 Back to the future
Eyesore or icon – the Dorset
Street Flats get a facelift
48 The after-hours stylist
Life is too short not to use the
good crockery
FOOD
34 For the love of local
Twenty years of the Otago
Farmers Market
RESENE
COMFORT ZONE
COLOURS OF
THE MONTH
DRINK
66 03 mixology
A deliciously dark drink fit for
fashionistas
稀 攀 戀 爀 愀 渀 漀
䌀 甀 爀 瘀 礀 匀 椀 稀 攀 猀
䐀 䔀 匀 䤀 䜀 一 䔀 刀 䘀 䄀 匀 䠀 䤀 伀 一
稀 攀 戀 爀 愀 渀 漀 ⸀ 挀 漀 ⸀ 渀 稀
稀 攀 戀 爀 愀 渀 漀 ⸀ 挀 漀 ⸀ 渀 稀

Celebrating four years
“We want to give each and every client what they deserve – the
best skin possible, best treatments, and best spa experience”
That is what prompted Teresa Malik to start Lovoir four years ago.
After more than a decade as a skin therapist for day spas and salons,
she felt the urge to do more for her customers.
More than her past experience, she wanted to share her passion
for skin, beauty treatments, and customer care. And so, on April 1,
2019, Lovoir was born. Located in a charming street in Avonhead,
Lovoir started with three employees and a small community of loyal
customers. It offered a variety of treatments – from premium facials
(like microneedling, chemical peels, and more) to spa treatments
(like massages and body scrubs) to maintenance salon services (like
waxing, tinting, lash lifts and threading).
They had it all, but with only one goal in mind: To make everyone look
and feel their best.
Driven by passion, expertise, and genuine care for others, Lovoir soon
became a popular spot for all things beauty and pampering. Word got
out, referrals spread, and customers flooded in. It was not long before
its success led to expansion, this time in the heart and hustle of the
city. In less than three short years, Lovoir opened its second branch in
Central Christchurch last February 2022.
Now, 4 years, 2 branches, and countless satisfied customers later,
Lovoir is considered one of the best day spas in Christchurch. Its
3-woman team has grown to 19, all expertly trained, backed by
international qualifications, and with a sincere dedication to uplift
others. Further cementing its reputation as the best in beauty, the
day spa was recently recognized as NZ’s Best Day Spa in the 2022
World Day Spa Awards.
When asked about the inspiration behind her business, Teresa’s
answer was simple: “I wanted the ability to do what I thought would
be the best experience, best treatment plan, and best results for my
clients.” And that is exactly what Lovoir is – a place where you can sit
back, relax, and trust that every customer is a priority, and only the
best is promised.
So as we celebrate our 4th anniversary this year, we invite you to
come by the salon, and experience the best beauty treatments in
Christchurch. Visit our website to book your skin consultation or
treatment. You can also contact us directly at our Avonhead and
Central branches to talk to our skin therapists.
See you in the salon
Lovoir Christchurch Central (Level 1 in The Crossing)
03 423 1166 | christchurchcentral@lovoirbeauty.com
Lovoir Avonhead
03 358 8410 | avonhead@lovoirbeauty.com
www.lovoirbeauty.com

10 Magazine | Contents
OUR COVER
34
Fashion designer turned
artist Meg Gallagher in her
Dunedin studio.
Photo: Tigh Barrie
RESENE
ROCK N ROLL
READ US ONLINE
48
RESENE
SPINDLE
TRAVEL
54 Beach a retreat
Our stay at QT Bondi
BEAUTY
26 About face
The best new beauty
ARTS & CULTURE
68 Cut it out
A Christchurch exhibition brings to light
Aotearoa’s golden age of printmaking
72 Book club
Great new reads to please even the pickiest
bookworms
REGULARS
12 Newsfeed
What’s up, in, chat-worthy, cool, covetable
and compelling right now
74 Win
Joanna Salmond jewellery, Essano Happy
Skin packs, Glasshouse Fragrances car
diffusers and gorgeous glassware from
77 Art & Living
FIND US ON SOCIAL
03magazine.co.nz | @03_magazine
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12 Magazine | Newsfeed
Newsfeed
What’s up, in, chat-worthy, cool, covetable
and compelling right now.
Glenorchy gourmet
Glenorchy’s culinary scene has recently
been enriched with the addition of The
Headwaters Dining Room. Brainchild
of acclaimed chef Pete Gawron and
philanthropists and Headwaters’ current
keepers Debbi and Paul Brainerd, the
restaurant has a focus on hyper-local
farm-to-table offerings, with many
organic ingredients grown on-site in the
kitchen garden. Chef Pete’s influences
draw from recent jaunts to Morocco,
Thailand and Europe, meaning the
menu will be varied and ever-evolving.
campglenorchy.co.nz
Life in the Phàrlain
As long time fans of New Zealand
fashion, we’re thrilled to see Aimee
McFarlane’s name back in the mix,
with the launch of new knitwear label
Phàrlain. Co-created with old friend
Brooke Nelson, the former Lonely
Hearts and Huffer designer has come
up with the goods yet again, with a
collection of beautifully crafted pieces in
heavy gauge 100 percent merino that
embrace a relaxed, feminine aesthetic
with a touch of the unexpected.
pharlain.com
Bee brew
If you’re not on the mead buzz yet, now’s the
time. The fermented honey drink is quickly gaining
its wings yet again, and the Christchurch-based
blokes behind Buzz Club are ensuring that their
sparkling honey-based beverages are on everyone’s
lips. Founders Edward Eaton and Wilbur Morrison
have focused on using lesser-known honeys,
such as kāmahi, rātā and pōhutukawa – resulting
in a light, refreshing take on mead, all the while
supporting Kiwi apiarists. Buzz Club’s five meads
are currently stocked at most supermarkets, and
the Buzz Club Bar pop-up is located at Riverside
in Ōtautahi’s CBD for a short, but good, time.
thebuzzclub.co.nz
Think pink
Expanding its beloved Renew+ supplements
range, local wellness company Jeuneora have
just introduced Pink Renew+ ($99) to the
collection – a limited-edition pink lemonade
flavoured collagen powder – in partnership with
Breast Cancer Foundation NZ. From every hot
pink container sold, Jeuneora will donate $5 to
BCFNZ to help Kiwis affected by breast cancer.
jeuneora.co.nz

is the only
Change
Constant
All property markets endure times
of change and sometimes these
changes go on to be described as
‘trends’ or ‘transitions’.
A ‘trend’ can be defined as a general direction
in which something is seen to be developing
or changing, while a ‘transition’ may be
viewed as an evolutionary process relating
to upheavals or alterations – and that best
describes many of the elements currently at
play in the New Zealand property market.
Everywhere I go, there’s a sense of caution
as people communicate the fears they have
about the current contraction in property
values and volumes. But this is nothing new
and you don’t have to go far to find previous
market adjustments.
Over the past two decades, the New
Zealand property market has endured
numerous changes.
Here are but a few and, as each occurred,
they invariably felt like the elephant in the
room.
Consider some of the winds that have hit
various markets, in the knowledge that some
of those winds felt like hurricanes.
The Christchurch Earthquakes were a
tragedy which changed the whole look and
feel of our city. Although it’s taken over a
decade to recover, the subsequent building
boom and injection of capital that followed
provided a huge stimulus to our local
economy and has set us on a pathway to
becoming one of the world’s most exciting
cities.
There have also been numerous
Government interventions, including
changes to Loan to Value Ratios (LVRs).
These were introduced in 2014 and I
remember writing about them at the time!
Prior to this, investors and others could
borrow up to 95% of a property’s value.
This feels outrageous today and, whilst
allowing investors to quickly amass property
portfolios, such policies also created a
number of vulnerabilities for both investors
and banks.
These ratios have since been adjusted seven
times, and we have a more measured set of
borrowing processes as a consequence. This
can also be seen in the tightening of funding
for investors through the introduction of
the Responsible Lending Code, which has
made it harder to take on excessive debt
for property investment. Although some
thought the sky was falling down, after all
of these interventions we’re still here and
moving forward. People are still working on
investing and purchasing property when
their personal circumstances permit. You
see, things never stop completely, they
merely transition.
Now the biggie and that is interest rates. We
are all aware of the hit that’s coming as those
on fixed mortgage terms with interest rates
close to 3% have to adjust to new rates of
6% or more. There are going to be enormous
challenges, but there are options to try and
stay in the property market, if at all possible.
One of the solutions is to list and sell, buying
another, smaller/cheaper property on the
same market. Downsizing allows you to free
up capital whilst reducing debt. Getting good
financial advice is essential and understand
that property is always a long game.
Maybe this is why I’m seeing the busiest
market for first-home buyers that I’ve
seen in a long time. Thanks to the current
property values, homes in a more affordable
price range are becoming available and
selling quickly. This is helped in no small
way by the absence of large numbers of
investors, who are battling with compliance
costs such as those required for Healthy
Homes legislation, and reduced yields in
some quarters, with changes to interest
deductibility being the final straw for others.
There you have it: a brief overview from a
relatively up-close and personal perspective,
and this is excluding the incredible high
points created by the post-COVID property
market as well as the diminishing effect
that the GFC caused way back in 2008. In
fact, many of the people I meet can’t even
remember that event.
The market is changing and it will change
again and again. There will be opportunities
and casualties. There will also be new
transitions and trends, but think on this first
– since 2003, corelogic.co.nz has provided
data stating that New Zealand property
values have risen by 300%!
This may just provide a small level of comfort
when you consider whether being in property
is the right thing to do.
I leave the decision to you.
Lynette McFadden
Harcourts gold Business Owner
027 432 0447
lynette.mcfadden@harcourtsgold.co.nz
PAPANUI 352 6166 | INTERNATIONAL DIVISION (+64) 3 662 9811 | REDWOOD 352 0352 |
PARKLANDS 383 0406 | SPITFIRE SQUARE 662 9222 | GOLD PROPERTY MANAGEMENT 352 6454
GOLD REAL ESTATE GROUP LTD LICENSED AGENT REAA 2008 A MEMBER OF THE HARCOURTS GROUP
www.harcourtsgold.co.nz

14 Magazine | Newsfeed
On the wire
Ico Traders’ powder-coated wire Benmore bench is one of the
Christchurch-based brand’s best selling designs, so the recent addition of
the Beaumont stool, a shorter take on the beloved seat, makes perfect
sense. In the same height, depth and chic colour options as the Benmore,
but just 42cm long, the Beaumont will fit right in with the rest of the Ico
Traders family, or can be used as a side table by simply adding a Benmore
bench plate.
icotraders.co.nz
Crunch time
As the most awarded potato crisp in
Aotearoa, Nelson-based Proper Crisps
has definitely earned its ‘snack essential’
stripes. Its latest offering, Big Cut, is a
range for the finest of chips connoisseurs
(read: everyone). Cut bigger and thicker,
Big Cut’s batches are hand-cooked low
and slow to crisp perfection. With four
flavoursome approaches to the classic
crisp, we firmly recommend the Dill Pickle
& Apple Cider Vinegar or the Purple &
Gold (cracked pepper and sea salt).
propercrisps.com
Hair today
MATER Beauty’s Kiwi founder Petra Škorić
understands the superhuman power of a
good hair day, and it was through her own
dissatisfaction at trial and error using solid
hair care bars that she decided to formulate
her own. The result is the TLC Nourishing
Shampoo Bar ($24) powered by rice protein
for shine and volume, provitamin B5, mango
butter and more, and Good Hair Days Super
Charged Conditioner Bar ($28) packed with
rice and hemp proteins, shea and cocoa
butters and oatmeal – both salon quality,
free of nasties and full of good things for hair.
mater.beauty
Man with a band
Currently touring his 2022 Taite Music Prize winning album Leave
Love Out Of This, APRA Silver Scroll nominee Anthonie Tonnon is also
ensuring his passion as a public transport advocate is front and centre at
his ‘ferry only’ Waiheke show (April 15) and at the Mosgiel Coronation
Hall via the humble number 77 bus from Ōtepoti (April 29). At both,
plus a Queenstown gig at Sherwood on April 30, there’s the promise of
new songs and rarely performed older tracks, with a mix of electronic
and organic instruments and a stunning light show.
anthonietonnon.com

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16 Magazine | Newsfeed
Good shirt
The always sought-after annual Witchery White
Shirt campaign is back from April 11, this year
collaborating with one of Aussie’s current coolest
fashion designers, Pip Edwards of P.E Nation, to
raise money for the Ovarian Cancer Research
Foundation. The 2023 White Shirt pays homage
to Pip’s trademark style, balancing classic designs
with cool, contemporary shapes, adding edge
via gold hardware and zipper detailing. For every
White Shirt sold, Witchery will give 100 percent
of gross proceeds to the OCRF.
witchery.co.nz
Double-billed belters
A feat 36 years in the making!
The Dance Exponents have reformed
for a nationwide tour in celebration
of the 40th anniversary of the iconic
album Prayers Be Answered.
With special guests The Exponents,
the double-billing includes a
duelling setlist – a tour through the
evolution of Jordan Luck’s two most
recognisable musical endeavours, with
tributes to ‘fallen comrades’, audience
involvement, and all the while belting
out some of the most recognisable
tunes to come out of Aotearoa.
theexponents.com
Smart food
Kiwi app Foodprint is taking its food rescue mission to the Tasman region,
joining 350 eateries from Auckland down to Christchurch on a collective
mission to reduce food waste, and support local business. The concept is
simple: eateries list their excess at decently discounted prices, and app users
collect the same day. Foodprint has amassed a slew of awards since its release
in 2019, and a recent grant from Nelson City Council has ensured that the
region will take a decent bite into reducing food waste in Nelson, and beyond.
foodprint.app
Dead cool
Fans of cult beauty brands
will be frothing at the arrival
of DedCool on our shores.
On a mission to reshape the
way fragrance is defined and
experienced and emphasising
the power of personalisation,
as well as perfume bottles and
candles, DedCool injects its
unique scents into otherwise
mundane products, from laundry
detergent to car fresheners.
meccabeauty.co.nz

The Perfect Ring
Polished Diamonds – Jewellery Design,
provides a unique experience allowing
you to design the ring of your dreams.
Advanced technology ensures accuracy
using architectural software so you can
view the actual ring in perfect proportion,
allowing for design adjustments. Clients
can have any ring style and matched to
any budget with the diamond or gemstone
being the deciding factor. Virtual CAD
modelling, MRI laser scan, 3D printing with
traditional hand craftsmanship ensures the
highest quality at an excellent price.
QUALITY ASSURED
• Lifetime Guarantee
• Workshop Direct Value
• Free Design
Consultations
• NZ Gold and
Locally made
• Digital CAD –
future proof
• Repairs, Valuations
and Service
Freecall 0800 233 299
Christchurch Showroom
30 New Regent Street
Wellington Waterfront
15 Customhouse Quay
Auckland Showroom
95C Ponsonby Road
Online Showroom
www.polisheddiamonds.co.nz

18 Magazine | Newsfeed
On the Riser
Allbirds’ retrospective sneaker is the
Riser; an eco-minded approach to classic
heritage footwear. With minimal lines,
and expressive design and dimension,
Allbirds’ approach to versatile footwear
will take you from Saturday night gigs
to Sunday morning markets. The Riser
is packed with consciously considered
elements, such as organic canvas, a
carbon-negative sole derived from
sugarcane, as well as features made with
a 100 percent eucalyptus fibre.
allbirds.co.nz
Big, honest Wolf
Following demand from its growing loyal community, cool Kiwi company
Honest Wolf this month introduce directional new styles that cater to
work and travel. The Overnighter, The Wash Bag, The Satchel and The
Briefcase offer functionality without sacrificing style, created in their
hero felted wool and New Zealand leather. As huge fans of weekends
away, we love The Overnighter – a classic, robust weekend bag. Catch
the topographic details on the lining; this is a map of Papanui Estate, the
third‐generation family farm the founders Sam and Sophie Hurley work
from. You can also add a monogram on your chosen bag to make it your
own heritage piece.
honestwolf.co.nz
Ultimate home luxury
As well as a gorgeous sparkling new Christchurch
showroom, Trenzseater have an exciting instore
arrival in the form of Ralph Lauren Home. A
leading artisanal luxury homeware range first
launched in 1983, choose from a sophisticated
collection of lighting, home fragrance, glass- and
leatherware, furniture and more.
trenzseater.com
Go to Space Island
Arguably one of our best musical exports, Broods have toured
with Taylor Swift, collaborated with Lorde, performed at
Coachella and Lollapalooza, and are now embarking on a main
city tour of New Zealand for late April, including Christchurch
on April 22. After amassing a staggering billion streams on their
multiple platinum- and gold-certified tracks, the Nelson-raised
brother-sister duo have added their new release Space Island in
the mix – a soundscape of atmospheric indie pop at its best.
broodsmusic.com

Promotion | Magazine 19
REAL ESTATE WITH HEART
Sheena Hemens is now bringing her positivity, passion and flair to
a new career in real estate, joining the team at Tall Poppy.
Renowned for being the founder of much-loved
restaurant Maison de Crepe in Merivale, Sheena’s success
story with the business is one she plans to emulate in real
estate. After two years of delicately steering her business
through the trials of Covid, with her staff and families
her constant priority, the business is now under new
management, and Sheena has transitioned away from her
hospitality chapter and followed her instincts into becoming
a part of people’s real estate stories.
Being a ‘relationship’ person through and through, this
is a sound foundation for her clients. The most important
thing for Sheena is to get alongside people in their journeys
and to offer everything she has in her power to help and
ease the path of what can be a stressful time. Her natural,
vivacious nature will attract both sellers and buyers alike to
having her facilitate starting new chapters of where they live.
Sheena has bought and sold many times over the years
and during her most recent purchase, through the Tall
Poppy network, she instantly knew she had found the
perfect partner for her real estate career.
She loved the transparent and sensible process that
Tall Poppy used and sensed the values and care that have
gone into the building of the wildly successful modern real
estate company.
She felt the genuine intent of a process to make both
buyers and sellers comfortable and at ease and it aligned
with her personal values and philosophies perfectly.
Having been a well-recognised personality in the
Christchurch hospitality and marketing landscapes,
Sheena is now bringing her positivity and flair to the real
estate industry.
Originally hailing from London, Sheena’s lovely lilting accent
hasn’t dulled despite nearly three decades of living in her
now-beloved Christchurch. A conversation with her always
puts a smile on your face.
A NOTE FROM THE FRANCHISE OWNER:
“We are so lucky to have somebody of Sheena’s nature
to join our family-like team. She is instantly likable and so
obviously well-intended.
“In 30 years of real estate, you come to know who will
be outstanding in a real estate career. Sheena is definitely
one of those people!
“Anybody who comes into contact with Sheena will feel
valued, seen and cared for. People want this more and more
in their transactions these days and connection and care is
becoming a number one priority in choosing who we work
with. Sheena will not disappoint.” - Debi Pratt
tallpoppy.co.nz

20 Magazine | Newsfeed
Winter warmers
From the bestselling author of A High Country Life,
in Winter Warmers Philippa Cameron shares more
stories of living on an isolated South Island high
country station, plus 70 deliciously hearty fill-’em-up
meals and baking ideas from shepherd’s pie to mini
coffee cakes. Complete with incredible photography
of life in the high country, this is both a practical
guide and a beautiful, aspirational book to browse.
allenandunwin.co.nz / @whats_for_smoko
Added apparel
No longer just about
chic accessories and
custom jewellery,
beloved local brand
SOPHIE has just its
first ever apparel
collection in time for
autumn. Following the
success of the one-off
Always shirt last year,
the debut collection
is a celebration of
effortless style, featuring
trans-seasonal designs
in neutral tones. The
Love This shirt, Shacket
jacket and In Love dress
are elevated staples,
designed to work in with
your current wardrobe.
sophiestore.co.nz
CHRISTCHURCH
We offer short-term hires!
Baby On The Move Christchurch have a great
selection of short and long-term hire car seats for all
ages from newborn to booster. Highchairs, buggies,
portacots, bouncers and more also available!
At Baby On The Move we are Child Restraint Technicians
qualified to select and install all car seats.
Competitive prices
Trusted brands
Certified technicians
Free install and fitting
hire me!
NORTH / 03 960 9752
515 Wairakei Road, Burnside, Christchurch 8053.
Email north.christchurch@babyonthemove.co.nz
CENTRAL / 03 421 3243
87a Gasson Street, Sydenham.
Email central.christchurch@babyonthemove.co.nz

PENELOPE CHILVERS
Combining contemporary,
fashion-led design with
enduring style and traditional
craftsmanship, Penelope
Chilvers produces timeless,
made to last footwear that
works seamlessly with each
season’s trends.
Available exclusively from
Rangiora Equestrian Supplies,
www.rangiorasaddlery.co.nz

22 Magazine | Wishlist
Most wanted
From mood-enhancing prints, ultra luxe skincare and autumn-ready
outerwear to cool stools, pretty pearls and rainproof accessories,
here’s what the 03 team are coveting this month.
3
4
2
1
12
5
8
6
7
11
10
9
1. Kynn Power Contour bodysuit in Tawny, $80; 2. Marle Agnes jacket, $500; 3. Meadowlark No.2 pearl necklace, $625;
4. Ilse Jacobsen detachable hooded raincoat in Lizard, $423 at Zebrano; 5. SUNNUP outdoor woven mat in Terra, $249;
6. Augustinus Bader The Cleansing Balm cleanser, $131 at Mecca; 7. The South Island of New Zealand – From the Road, Robin Morrison, $75;
8. Raaie Sun Milk Drops tinted SPF 50+ sunscreen, $110; 9. Wallace Cotton X Blunt Metro umbrella in Secret Garden, $149;
10. Kowtow scrunchie in Autumn Check, $29; 11. Rains Rush tote bag in Straw, $80;
12. Martino Gamper Arnold Circus stool in Cocoa, $270 at Infinite Definite

Briarwood Christchurch
4 Normans Road, Strowan
Telephone 03 420 2923
christchurch@briarwood.co.nz
briarwood.co.nz

24 Magazine | Fashion
Not just for nanas
With cooler weather on its way but not quite fully arrived, the hardest working
style item in your wardrobe right now should be the humble (yet highly underestimated)
cardigan. Nana vibes are where it’s at for AW23, so don’t be shy about going in a full
retro direction with soft browns and beiges, wraps and V-necks – then elevate with a
mix of vintage-inspired and very-contemporary accessories.
4
1
2
3
15
14
10
6
5
7
13
11
9
12
8
1. Kowtow Composure cardigan in Beige, $259; 2. Untouched World Alina cardigan in Acorn, $399; 3. Juliette Hogan Marvin cardigan in Chalk, $459;
4. Moochi Darted cardigan in Cappuccino, $360; 5. Standard Issue Crop Crew merino cardigan in Alabaster, $299;
6. Loeffler Randall Bellamy oversized headband in Gold, $119 at Superette; 7. Camilla and Marc Romeo cardigan in Mushroom, $405;
8. RUBY Paloma hair claw in Lime, $25; 9. Deadly Ponies Gansu shearling slides in Burnt Toast, $449; 10. Marlow Soho cardigan in Oatmeal Marle, $269;
11. Zoe & Morgan Rhea gold-plated earrings, $310; 12. Deadly Ponies Mr Cinch Pouch bag in Lemongrass, $399;
13. SOPHIE Daisy Day Maxi scarf in Moss, $52; 14. Moochi Attract cardigan in Natural Marl, $360; 15. Chloé sunglasses, $529 at Fashion Society

AUTUMN '23 INSTORE & ONLINE
UNTOUCHEDWORLD.COM

26 Magazine | Beauty
About face
From aloe-infused solutions and ’90s-inspired lippies to pore-perfecting makeup
and powerful pre-cleansers, here’s what the 03 team are trying this month.
1
4
Powerful
precleansing
The popular technique
of double cleansing
has been advanced yet
again by Dermalogica
to efficiently care for
your skin and remove
makeup. We all know
that micellar makeup
removers work
incredibly well by lifting
it off the skin’s surface,
and Dermalogica
has now developed
a new formula that
incorporates the
strengths of micellar,
the Micellar Prebiotic
PreCleanse ($98). The
new first-step cleanser
helps reinforce the
skin’s barrier and
deliver long-lasting
conditioning effects,
preparing the skin for
the second stage of
cleansing.
Soothing solutions
For skin that requires soothing,
say “aloe” to The Ordinary’s latest
release, the Aloe 2% + NAG 2%
Solution ($25). This innovative
formulation was created by the
beloved brand for those with
acne-prone skin, adopting a
holistic approach to address skin
concerns like texture and the
appearance of post-acne blemishes.
Wondering what N-Acetyl
Glucosamine (NAG), one of the
product’s primary components, is?
Us too – it’s a widely researched,
super‐hydrating ingredient that
targets uneven skin tone.
5
3
2
Matte and more
Fresh to Mecca’s shelves is a
new release from fan-favourite
NARS, their multipurpose
skin-perfecting powder.
Beyond just mattifying the
skin, the Soft Matte Advanced
Perfecting Powder ($70 at
Mecca) conceals flaws for
24 hours without leaving a
dry, cakey feeling. This instant
cult hit contains niacinamide,
a skin-friendly ingredient that
minimises the appearance of
skin texture in just one month,
while controlling shine.
Get happy!
New from much-loved
supermarket beauty brand Essano
is the Happy Skin collection,
featuring four cheerfully packaged
products created for skin
happiness, without the big price
tags. Including a jelly cleanser,
toning mist, day cream and our
fave, the Supercharge Glow Serum
(pictured, $40), which comes in
a refillable bottle, the mood- and
skin-enhancing range features
goodies like tropical fruit enzymes,
vitamin C, squalane, hyaluronic
acid and fermented postbiotics.
Bring back the ’90s
With the popularity of ’90s fashion
trends comes a love of the era’s beauty
looks, particularly brown-hued lippies.
Karen Murrell’s most recent range of
lipsticks ($32 each) has been inspired by
these looks. The brand-new Confidence
Collection features four sophisticated
tones, whether you’re after a rich mocha
chocolate tone or a pink rose accent,
this collection is sure to give you a
confidence boost.

FUNDED VACCINATIONS
Measles, Mumps and Rubella (MMR):
Anyone born on or after 1 January 1969 who
has not had two doses should have the MMR
vaccine.
Adults born before January 1969 are
considered immune as it was highly infectious
before then.
MMR vaccine is part of the childhood
immunisation programme for children at 12
and 15 months old.
Before planning to get pregnant, check with
your doctor for available immunisations.
If you are unsure whether you are immunised
contact your local practice
COVID-19:
It is important to get vaccinated against COVID-19
before the winter months, to help minimise the
spread of the virus.
PROTECT YOURSELF AND
YOUR WHĀNAU
Getting immunised is the best way to protect you when
the weather turns cold, protecting you, your whānau and
community against infectious diseases. Making your
health a priority will help reduce the risk of getting sick,
and allowing your immune system to get stronger against
any viruses heading into winter.
During the colder months is when many respiratory
viruses including influenza and COVID-19 are most active.
Both are highly contagious illnesses, and both show a
seasonal pattern with increased transmission during
colder months.
“Getting vaccinated helps us to protect our most
vulnerable members in the community,” said Sherryn
Edwardson, Immunisation Coordinator at Pegasus
Health.
“It may seem early (when we consider the warm
summer that we have experienced in Waitaha,
Canterbury), but our thoughts and planning are focused
on the health challenges. It is a good time to consider
receiving your influenza vaccination to protect yourself
and your whānau. This is particularly important if you
work with vulnerable people, have a chronic medical
condition, are in the older age group or live with someone
who is immunocompromised. Vaccinations tend to be
available from late March to early April so now is a great
time to start thinking about what will help protect you
through the colder winter months,” Michael McIlhone,
Director of Nursing at Pegasus Health said.
If you would like to book a vaccine for you or your whānau
make an appointment with your family doctor or check
bookmyvaccine.health.nz
People aged 12 and over can receive two
doses 8 weeks apart
People aged 16 and over can receive two
doses 8 weeks apart and a booster 6 months
later.
Find out where to get your COVID-19 vaccine at:
vaccinatecanterburywestcoast.nz
Human papillomavirus (HPV):
HPV immunisation is free for everyone aged 9
to 26, including non-residents under the age
of 18.
It is recommended to be given at ages 11 - 12
years old.
Those over 15 years old will need three doses
spread out over 6 months.
Children are offered free vaccines at school in
years 7 and 8 but is also available at your local
family doctor.
Meningococcal vaccines:
Menactra® or MenQuadfi®, and Bexsero®
vaccines are free for people aged 13 to 25
years during their first year of living in
boarding school hostel, university hall of
residence, military barracks or prison, or 3
months before they move in.
Bexsero is also funded for people 13 to 25
years of age who are currently living in
boarding school hostels, tertiary education
halls of residence, military barracks or
prisons, from 1 March 2023 until 28 February
2024 as a catch up.
Bexsero is available for babies in their
immunisation programme at ages 3 months, 5
months and 12 months old.

Double denim
While Meg Gallagher has switched from sought-after fashion
designer to celebrated painter and from Sydney to Dunedin,
denim has remained her favoured creative medium.
WORDS REBECCA FOX
| PHOTOS MEG GALLAGHER

Feature | Magazine 29
Just a few years ago Meg Gallagher was entrenched in Sydney’s
fashion world, relishing the challenge of being the denim whiz-kid.
‘‘It was my dream job. I got the job I was desperate for when I was
studying fashion,’’ she says.
Yet she had this magnetic pull to come back to Otago, something
she never thought would happen 20 years ago.
‘‘By the time I got my dream job, my passion and focus was on the
art and painting. I was a different person.’’
She started painting in Sydney four years ago, after she had her son,
discovering ‘‘never-ending’’ inspiration from the world around her.
“I was really into this hard-core fashion job and
had all these staff I was responsible for, but it’s so
interesting how easy it was to give it up.”
‘‘It escalated so quickly because everything is so easy to buy online
at the moment. Everyone loved my connection to New Zealand and
Australian landscapes.’’
Personally, it also resonated, as it was her work, whereas in fashion
she was bringing to life someone else’s vision.
‘‘I loved the creative part of it, but it was always their kind of thing.
When I was creating my art, it was that calmness and stillness of me
being able to do things at my own pace.’’
Meg began to question why she was still ‘‘hustling’’ in Sydney.
She knew if she returned to Dunedin she could make art her
primary focus.
‘‘Also slow down a bit, not focus on quick sales. I could choose the
things I wanted to do.’’
So she made the decision and moved back to Dunedin a year ago.
She did have a few qualms about whether her art practice would
continue to be successful.
‘‘But it’s been beyond what I could expect. It’s been so good. I’ve
got a never-ending bucket of inspiration here. I feel so connected to
myself and this place, it’s made me like, so much more considered
and thoughtful as an artist.’’
Coming back was made easier by finding studio space while she
was still stuck in Sydney during Covid. Her brother, an illustrator, was
able to check it out and give it his tick of approval although there
were concerns about the size and cost of the space.
Its positive attributes of being light and airy and in a great location
won them over. They went ahead and hired the space with the aim
of getting other creatives to join them and share it.

30 Magazine | Feature
LEFT: ‘Indigo Magic’, one of the
works in Meg’s solo show at
OLGA gallery, Dunedin, from
April 1, 2023.
‘‘I was able to hit the ground running and we were able to
find a great mix of people. You get all the benefits of having
work friends, but without having to talk about work... as we’re
doing our own thing. It’s so nice.’’
She has also discovered Dunedin is a different place to the
one she grew up in. The former Otago Girls’ High pupil went
on to study philosophy at the University of Otago for a year.
‘‘As much as I liked it, I was just drawing the whole time.’’
Then there was the choice to go to fashion school or art
school. Otago Polytechnic’s fashion school won out because
of its strength in practical skills and the opportunity to do an
exchange to Milan, Italy.
‘‘I could see myself having a career in fashion. I liked the
connection fashion had with people. Maybe it felt like a
ticket out.’’
She was named as ‘one to watch’ by Vogue Italia and
awarded a scholarship to study at Milan’s Istituto Europeo
di Design.
It gave her the boost to move to Wellington.
‘‘I felt like I had to spread my wings and go. I didn’t feel like
there was enough stuff here for me to grab onto.’’
However, now she has discovered Dunedin’s wonderful
vibe of creatives doing new and interesting things.
‘‘There is a nice support circle here. If you knew me
when I was 20, working in fashion, I was not Dunedin’s
biggest advocate. Now I’m like Dunedin’s number one
tourism advocate.’’
She’s able to quickly put her friends’ concerns about how
she is going in the deep south to rest.
‘‘It’s amazing. I must be a lot older. The quality of life
I can have and the ease of everything makes me feel so
creatively free.’’
Coming from a fashion background she initially thought she
wouldn’t be taken seriously as an artist.
‘‘It’s funny, it’s my thing. I came to working on denim
because I started doing jeans and I worked out how to make
them different colours, and then I started working for a very
experimental jean company that allowed me to tie-dye them
and stuff.’’
She started out in Sydney working in womenswear design
roles for designers such as Collette Dinnigan before ending up
at Ksubi, an experimental denim company.
‘‘They had this cool grungy vibe I could connect with,
almost similar to NOM*d and Zambesi, I got it.’’
Having that knowledge from polytech about textiles meant
she wasn’t afraid to experiment.
‘‘I had no idea that was my thing. At polytech I was
definitely known for not being great at patterns or sewing or
all the really finicky things, but I was really experimental with
textiles and shape, the colours and bigger picture.’’
At Ksubi she really got to know what could be done with
denim, how it could be changed, how varied it was.
‘‘You have to stop me on the denim nerd talk. Once I got
on to it, I absolutely loved it.’’

Feature | Magazine 31
“I came up with this technique in my
outdoor studio in Sydney because I
didn’t have walls.”
She became their denim designer before leaving to go to
Camilla and Marc who wanted to introduce a denim range.
‘‘It’s quite rare for someone who just works in denim.’’
General Pants Group, who own Ksubi and other brands,
then asked her to be design director to revive their denim
collections. She worked for them for eight years.
‘‘I then became the denim person. They allowed me to
keep pushing these really crazy ideas.’’
The company also emphasised the importance of travel,
so Meg got to travel to the factories where the denim is
produced. She travelled to Japan to hunt out vintage denim
for inspiration and then to Hong Kong and Turkey to work
with the factories producing her designs.
‘‘Not every designer gets to travel and go to the
factories, but because my job was so textiles-based it
was really important for me to go and I built these really
great relationships.’’
When she started painting, she discovered a roll of
denim at home leftover from a project, and thought she
would try using it as a canvas.
‘‘I was like, ‘Oh this works’. So I started playing around
with that.’’
Then on one of her trips to Hong Kong she asked if they
had any leftover denim she could have. It turned out having
five metres left over from a run was nothing to them. They
were happy to put aside any uncut remnants for her.
‘‘I started getting this beautiful odd mix of denim arrive
occasionally and I started to play around with what was
given to me.’’
Her Australian home had a space under a balcony where
she could happily experiment without worries about getting
dye, bleach or paint everywhere.
‘‘It was a wonderful accidental space to use.’’
To make her works she starts off with raw pieces of
denim which she hangs outside on washing lines or rocks
and pours bleach on it to strip the colour away. Then she
mixes up dyes and pours, dips, strokes them on to the
material and leaves it there, sometimes for days.
‘‘I let them soak up dyes in different areas. Then I
eventually place it in the washing machine and bring it
into the studio. When I’ve got these hectic, textural pieces
of cloth I lay them out and work out which ones are
speaking to me.’’

Feature | Magazine 33
“Even though I do landscapes, the colours I use are what I see a lot of
in interior architecture or fashion. I think it might be why people are drawn
to them in a way. It’s not just ‘the grass is green and the sky is blue’.
The ground can be pink, the sky can be brown.”
At that stage she’s not trying to make a particular
composition. She cuts it into the size she wants, stretches it
onto huge pieces of ply board and staples it.
‘‘I came up with this technique in my outdoor studio in
Sydney because I didn’t have walls.’’
Then she creates a mood board of images she is ‘‘into’’ to
have a reference of colours and shapes she likes.
Due to her fashion background, using Photoshop is
second nature so she uses that to block out shapes and
colours to help her avoid the parts of the textile she does
not want to cover.
‘‘I do a tiny plan. I don’t sweat over it. I stick it next to
the painting. The painting never turns out like it. I then start
layering on thick layers of acrylic. I use palette knives, not
brushes. I only use a brush to sign my name.’’
Between all the steps a lot of drying time is required –
sometimes up to three days in winter.
‘‘I think it’s kind of healthy, it forces me to step away
from it.’’
At the start of the process, she works on the pieces
upright, but then she lays them on the floor for the final
paint layer.
Meg gave up her full-time design director role to pursue
her painting, but keeps in touch with those in the business
and helps out with the development of new denim lines.
‘‘I was prepared to say goodbye to all of that stuff, but
things that come up I try to squeeze in, it feels natural to do
and they’re really supportive of my art too.’’
She has realised all her visual references and inspiration
come from her experience in textiles and fashion, even her
use of colour.
‘‘Even though I do landscapes, the colours I use are what I
see a lot of in interior architecture or fashion.
‘‘I think it might be why people are drawn to them, in a
way. It’s not just ‘the grass is green and the sky is blue’. I try
to never do that with my stuff. The ground can be pink, the
sky can be brown.’’
The past couple of months she has been working on
material for a show in Sydney and one in Dunedin at OLGA
to tie in with iD Dunedin Fashion Week – she is a former iD
International Emerging Designer Award finalist.
‘‘I thought it was a beautiful lifetime loop of coming back.
In a way it inspired all the pieces I’m doing for it.’’
Meg even got in the car for a tour around Otago
Harbour for inspiration, driving to Aramoana and around
to Portobello, stopping along the way to take photos. Her
mother lives at Broad Bay and her father at Port Chalmers,
so the journey from one side of the harbour to the other is
etched in her memory.
‘‘I’ve got such a nostalgic memory of driving around the
harbour and seeing all those shapes and landscapes etched
on the harbour. Coming back, I see Dunedin in this whole
new rose-tinted glasses way. I had all this inspiration already
there in my mind.’’
The result is a series of paintings that have some literal
features, but are more about appreciating the light and dark
sides of Dunedin, maybe as a way to apologise for being so
dismissive of the city when she was younger, she says.
‘‘It has this really nice moody gothic thing to it as well
as this positive side to it. I wanted to paint Dunedin in this
magical way without making fantasy paintings.’’
Looking back over the past couple of years, Meg says it
has been this ‘‘bizarre organic journey’’.
‘‘If you told me even five years ago this is where I’d be, I’d
say, ‘what?’. I was really into this hard-core fashion job and
had all these staff I was responsible for, but it’s so interesting
how easy it was to give it up.’’
Meg just fell in love with art.
‘‘I felt this is what I was meant to be doing.’’
The Covid situation meant she had a taste of what it
would be like to slow down and she had the time to reassess
her priorities. The ease of working remotely also highlighted
she could work from anywhere.
‘‘What’s the difference between me being in Dunedin
or living in Sydney? The world doesn’t seem so inaccessible
from here. Nobody cares where I am.
‘‘If anything, they kind of love that I’ve decided to hibernate
in Dunedin and paint. It makes it unique and authentic.’’

Feature | Magazine 35
For the love of local
Serving up the region’s best produce and fare (from Bluff
oyster pies and baked goods to berries and bacon butties) from the
Dunedin Railway Station carpark every Saturday, the much-loved
Otago Farmers Market celebrates its 20th anniversary this year.
WORDS REBECCA FOX | PHOTOS OTAGO FARMERS MARKET
It is 2.45am and the alarm is blaring.
John and Heather Preedy throw the
bedcovers off and get ready for the biggest
day of their working week – a two-hour drive
to Dunedin, followed by hours standing in
the driving rain, wind, beating sun, frost or
occasionally snow, protected only by a gazebo,
and followed by the same drive home.
They have repeated this 12-hour routine
nearly every Saturday for the past 20 years,
ever since the Otago Farmers Market started in
March 2003.
“We were the first people to sign up,” John says.
Why? Well, when visiting a strawberry-grower
friend in Australia they got told the local farmers’
market there was “bloody worthwhile”, so when
the idea of setting one up in Dunedin hit the
media, he watched with interest.
The idea was sparked by Dunedin growers
looking for an outlet for their produce as
roadside stall sales declined. The late Ray
Goddard was Otago Vegetable Growers
Association president back then and
spearheaded the idea as a way for producers
to survive in a tough environment where large
supermarkets dominated.
“It will be a lifeline; it’s the only way some of
them will survive,” he told the Otago Daily Times
in 2003.
A charitable trust was set up with the aim of
creating a true farmers’ market – one that sold
produce and products grown or made in Otago.
Behind it was a group of passionate advocates of
the idea.
It was first mooted the market should be in
the Exchange, as some businesses were keen to
see the area revitalised, but others were not so
keen, so the Dunedin City Council proposed
the Dunedin Railway Station’s northern car park.
The council also stumped up a $10,000 grant to
help get the market started with advertising and
promotion as well as a part-time coordinator.
And with that, the market was on. On day
one there were 38 stalls – a mix of meat, plants,
vegetables and fruit – ready for action at 8am.
As were the Preedys. By 9am they had sold
out. The next week the market grew to 51 stalls.
The Preedys brought more produce and have
continued to come each week.
The market has become their sole outlet
apart from their roadside shop at Ettrick and
some mail-order deliveries (the result of a
Covid pivot).
“We’re not at the mercy of the supermarkets.
We have control of our own destiny and a wider
range of produce so we don’t have all our eggs
in one basket,” John says.
Even if it has meant some hairy trips to
Dunedin during the winter. After one close call
on black ice they decided for safety’s sake to
travel to Dunedin on the Friday for Saturday’s
market during the winter months.
They have got through every type of weather
Dunedin can throw at them – “snow, gales, you
name it”. One time they could not get home
because of torrential rain. The only time they
have not sold anything was during the South
Dunedin floods.
“We just turn up every Saturday and sell stuff
to the public of Dunedin. I think there has only
been two days we haven’t been able to get
down because of snow,” John says.

36 Magazine | Feature
They follow the demands of the market customers – courgettes were
once something new and are now mainstream; fennel, cavolo nero and kale
are other vegetables new to the paddock in the past 10 years.
Their commitment has meant changes for their
orchard. Instead of their focus being apples, they
have moved to growing more vegetables. They
follow the demands of the market customers –
courgettes were once something new and are
now mainstream; fennel, cavolo nero and kale are
other vegetables new to the paddock in the past
10 years.
“I think with all the cooking shows, people’s
eating habits have changed. It is always evolving,”
Heather says.
For John, it’s that challenge which keeps the
job interesting. Vegetable crops can be changed
every year, unlike apples which take five years
to produce.
“It’s not boring. I get very bored.”
The new crops are grown along with traditional
winter favourites such as parsnips, carrots, leeks
and yams, which are stored in the ground and dug
up every week for the market.
But what hasn’t changed is the demand for
berries. Peaking every Christmas, queues always
form for raspberries, strawberries and blueberries.
At peak raspberry harvesting time the Preedys
can have 30 staff plus RSE (recognised seasonal
employer) workers picking and packing. But the
business averages about eight to ten staff during
the rest of the season.
“A couple of hepatitis scares has meant people
are realising where their berries come from.
There’s not a lot of berry fruit growers left in the
country. We’re a dying breed.”
It is the same for horticulture in general. Now
they are at retirement age, they would like to take
it a bit easier, but their business has been on the
market for 18 months.
“It’s going to be a problem. You can’t eat a
laptop for lunch, or pine cones.”
Trust chairwoman Sharyn Crawford says
there are fewer growers at the market, reflecting
reduced numbers of growers in the region, but
those growers that remain provide produce on a
much bigger scale than they did in the earlier years.
“There’s a lot less growers – it’s happening
throughout the country; it’s a global problem. It’s
an issue we’ve been talking about for a long time
around the board table.”
But not everyone was sold on the idea of
the farmers’ market in the early days. Critics
questioned whether Dunedinites would come
out in any weather, and some growers were
among them.
“Lots told us it would never succeed in Dunedin,
it was a crazy idea,” Paul Crack, a former trust
adviser, trust chairman and market manager, says.
It was an effort to get enough growers as they
had to find producers growing enough, but not
supermarket amounts. Ray “strong-armed” some
along and was instrumental in getting vendors there.
“He was a champion. It was tough to get people
motivated to come every Saturday and get out
of bed early to cut their veges. It sounds easy – it
only took us two years.”
Paul, a market researcher, got involved in the
early days to help the trust make the concept
work. To do that he believed, after researching
overseas markets, it had to focus on fresh, local
produce, plants and food made from fresh local
produce, not crafts or imported goods.
“It was always going to be the Otago farmers’
market even when we were scribbling things on
the back of envelopes. If it was grown in Otago
and it was fresh and local that was OK.”
The other necessary ingredient was rules.
“If it was to be a real farmers’ market, people
couldn’t just rock up. We wrote the vendors’
guide so that if somebody wanted to sell at Otago
Farmers Market they had to agree to certain rules.”
The trust has stuck to those concepts over the
years, which is what has made it a success, he says.
“Those same rules are very much in evidence
today as the day we opened. I’ve worked with

“The interaction with vendors
and learning about what food is
in season, when and how to cook
it is a wonderful opportunity and
really engages people.”

others ... Everyone has failed who did not have rules. It
didn’t make us a lot of friends at the time.”
Supermarkets were also not too happy about the idea of
the farmers’ market. But time showed people still needed
supermarkets for their basics and that the market did not
compete with them.
“At the time the supermarkets got really grumpy. After
time they learnt to live with us.”
The success of those first markets surprised everyone.
“The magic started on the day it opened. We had no
idea there were so many people out there who wanted
fresh local produce.”
The other contributor to its success has been its ability
to provide enough good-quality product to sell, matched
with enough people to buy it, he says.
“Somehow the good people at the trust have managed
to keep that balance over the past 20 years.”
Over the years the farmers market has grown to about
62–65 vendors on any given Saturday, many of those new
vendors falling into the ready-to-eat or drink category.
Products vary from cheese, baked goods, jams, pickles and
chutneys to wine, spirits and kombucha.
The market has provided a great opportunity for new
businesses to market-test their products and some have
gone on to greater success.
One of the vendors there from the very early days is
Mike Cornelissen, of The Bacon Buttie Station. The butcher
admits to being one of the early sceptics and only being
there because his stepdaughter Tia urged him to give it a go.
“I thought Dunedin wasn’t big enough to sustain it, but I
went and had a look and thought I could do better than a
sausage in some bread.”
He got some of his frankfurters and bacon out of the
freezer and thought he would give it a go for three weeks
just to appease his stepdaughter.
“It started off with a bang. I sold out.”
Two years later, after watching market neighbour
Evansdale Cheese’s Colleen Dennison stay dry in the rain,
he bought a caravan and hasn’t looked back.
“I’m very loyal to the market. A lot of people come
for us, so I don’t take a day off – people expect you to
be there.”
When his stepdaughter returned from Australia, they set
up the “bricks and mortar” version of the buttie station.
“I supply her with bacon and do the market on Saturday
– it’s my livelihood now. What I sell is what I make, well,
apart from the bread. I have total control over the quality
of the sandwich.”
After spending his week alone, with just the radio for
company, making his Dutch-inspired smallgoods, Mike loves
nothing more than a yarn on a Saturday morning.
“You get a good rapport going with your customers,
sometimes too good a rapport if there’s a queue. You have
a few laughs.”
But, as with the Preedys, time is marching on and he is
looking to the future.

Feature | Magazine 39
“I thought Dunedin wasn’t big enough to sustain it, but I went and had a look
and thought I could do better than a sausage in some bread ...
I’m very loyal to the market. A lot of people come for us, so I don’t
take a day off – people expect you to be there.”
“I was 42 when I started – now I’m 62.
Saturdays can be a drain and affect your social
life. I like to play bowls – I’d like to dedicate more
time to it.”
Who Ate All the Pies is another success story.
Paul can remember coming across two young men
making pies at the Savoy and suggesting they come
along to the market.
“They brought along 30 pies and sold out in
about 14 and a-half minutes.”
They became a regular at the market, which
continued when they sold the business to
Englishman Steven Turner 15 years ago.
“I was literally there through snow, frost, illness
– for five years I never missed a farmers’ market.
It’s been the cornerstone of our business for a long
time,” Steven says.
In the early days, the market was an important
part of the business, nearly 40 percent of the
company’s trade happening in one day.
The market also got the company, now based
in South Dunedin, noticed by the supermarkets.
They sent testers in to try the product and
from that Steven got invitations to sell his pies
in supermarkets, which was also helped by him
developing a method of packing the pies.
National media coverage of the market then got
him noticed by top gourmet food shop Farro Fresh.
“Next we’re supplying the poshest supermarket
in New Zealand.”
The company has gone from producing 100–150
family pies a week when Steven took over to now
producing more than 4000 family pies each week.
The market also provides him with the perfect
opportunity to do market research, trial new
products and also make some products he can’t
sell in supermarkets, such as his Cornish pasties and
pork pies or his seasonal special of steak and Bluff
oysters. One of his most popular recent additions is
‘seconds’ pies – burnt or damaged pies.
“I get feedback instantaneously and I can give
value for money and specials you don’t get in the
supermarket.”
Like Mike, he enjoys having a chat with customers
and also doing his own shopping, making the most
of easy access to fresh produce.
“I can’t believe more people don’t use it. It’s as
busy as I’ve seen it in five or ten years, which is
great. I think people are being a bit more savvy
in their weekly shop and I think the vendors are
meeting them on price point.”
Beam Me Up Bagels is another success story,
starting out at the market where it sold 200 bagels
on its first day. It now has a bricks-and-mortar
business, as do market vendors Bay Rd Peanut
Butter, Evansdale Cheese and No. 8 Distillery.
Sharyn says the market, which is thought to be
the third-oldest in the country, is always evolving,
but one of the biggest changes has been how the
market has become a tourist destination.
The city council and others market it as
something to do when visiting Dunedin at the
weekend. It has featured in national media and
begun winning TripAdvisor Awards. It has also won
the Outstanding Food Producers’ top farmers’
market award four times.
The fan base is broad, ranging from the
everyday Dunedin person doing their weekly
shop to people from Auckland visiting their
children at university, to cruise ship passengers
and students themselves.
The market’s continued popularity over the years,
she believes, is down to the quality of the produce
and prices being kept consistent.
“The produce is picked fresh for the market and
its shelf life is very good.”
Sometimes the market’s Otago border is
stretched if there is not anyone to meet that need
from the region.
As part of the community, the trust tries to do
its bit when it comes to sustainability and waste
minimisation. It also supports a community group
each week by providing a stall for it to fundraise from.
“It’s another way for the market to give back to
the community.”
But at its heart, the market is all about providing
good-quality food, she says. These days many
people are concerned about food security and
where their food comes from.
“The interaction with vendors and learning about
what food is in season, when and how to cook it is
a wonderful opportunity and really engages people.”

Feature | Magazine 41
From Paris to Clyde
Disillusioned with the fashion industry she loved, Marielle van de Ven
thought she may have to give it up – until she discovered ethical and sustainable
Kiwi clothing company ReCreate… and moved to Clyde.
WORDS REBECCA FOX
Paris, London, Dunedin, Auckland, Clyde – from fashion
capitals to regional New Zealand, Marielle van de Ven has
found smaller to be better in many ways.
It has been a journey she never envisaged when she
started out as a fresh-faced master’s fashion graduate from
the Royal College of Art in London.
Back then she was excited to be awarded a scholarship
at the Mittelmoda Fashion Awards to travel to New
Zealand 12 years ago and work at Otago Polytechnic’s
fashion school passing on her knowledge to Dunedin
fashion students. She also helped with the Emerging
Designer collection for iD in 2011.
“I wouldn’t be in New Zealand if it wasn’t for iD
Fashion Week.”
She returned to London, but there was always a special
place in her heart for Dunedin, so when Margi Robertson
from NOM*d offered her a job she returned to take it up
and spent three years designing for the top Dunedin label.
“My last time at iD [prior to 2023] was eight years ago
with NOM*d.”
After that she took up a job with Karen Walker in
Auckland before she headed back to Europe to work.
“At that stage in my career I became more and more
aware of the negative impact the industry and garment
production were having on the environment. It became
harder for me to keep designing and putting more product
into the world.”
Marielle, who is from the Netherlands, had little
knowledge of the people who made the clothing and the
conditions they worked and lived in and where the fabric
was coming from.
“I realised as a designer I knew so little, like really what was
happening on the floors in the garment factories. Something
needed to change. I wasn’t inspired to design more and
more product that was making such an impact.”
She started to research to see if she could find any others
in the industry doing things differently and came across New
Zealand’s ReCreate, a company founded by Erica Gadsby to
help provide fair employment for women in the marginalised
community of Dey Thmey, Cambodia, through learning the
skills to make clothing.
“For me it was quite incredible. To do something useful
with a skill I had to create change in the industry, and show
it was possible to have garment production with a softer
footprint and be proud of the industry again – that had been
missing for me. Showing it could be done, has to be done.”
She loved what the company was doing and its ethos of
having 100 percent of its profits go back to Dey Thmey and
so offered to help out.
“I saw their products and thought they needed some help
so I tried to get their products looking better and offered to
help for a year for free.”
Unfortunately, she couldn’t continue to do the work for
free and pay the bills, so when she was offered a job in
Antwerp she took it.
It wasn’t long before she and her partner decided to
move back to New Zealand and she took up a full-time job
with ReCreate.
“It’s an industry I thought I wouldn’t be able to continue
with but to turn it around to apply my skills and my values,
I’m very lucky.”
She now designs all the garments from her home in Clyde,
“of all places”, having ended up in the small Central Otago
town during lockdown as her writer partner’s family comes
from there.
“It’s a bit different being creative in a small town in New
Zealand, especially after living in big cities. It’s been an
interesting process.”
They had just returned from Europe and were working
remotely while travelling the country prior to lockdown.
“We didn’t know where we wanted to live but we knew
we didn’t want to come back to Auckland. Then lockdown
hit and it became a bit challenging.”
The in-laws made their holiday house available, so they
decided to sit out lockdown in Clyde.
“It’s been really nice. Three years later we’re still here.”

“It gets people out
of the slums, out of
prostitution, we take
them in and train
them up in sewing and
pattern making… We
hopefully provide a
future for them and the
next generation.”
Travel has also influenced her design style, as people dress
completely differently living in New Zealand compared to
European fashion weeks or travelling – as Marielle did a lot of
before her return to New Zealand.
“I lived out of carry-on luggage for months on end. You just
wanted a good piece of quality clothing that’s versatile and
you can wear it day after day. That shifted my perspective as a
designer, and my design aesthetic.”
Creating good quality pieces that “still look amazing” but
can be thrown in a bag and don’t need to be steamed or
ironed is important to her. Clothes that can be worn to the
office, getting the children from school or going out for dinner.
“That they do all those jobs is really important.”
Once Marielle designs the garments, the designs are sent to
ReCreate’s sewing centre in Cambodia to be made.
“It gets people out of the slums, out of prostitution, we
take them in and train them up in sewing and pattern making.
Also they’ve never been to school so they can’t read or write
so we provide that. More than that we provide them with
the whole package. We help them secure mortgages to buy a
home and help them with savings and make sure the kids go
to school and university. To really turn things around for them.
“We hopefully provide a future for them and the
next generation.”
The team in Cambodia makes the samples, and prior to
Covid lockdowns Marielle would travel over to develop
collections and do training. Unable to travel there in recent
years they have been sending photographs of the pieces and
Marielle draws over the top indicating any changes and sends
them back.
“We’re still making sure they have all the skills possible. To
have the skill is such an asset for them.”
ReCreate’s garments don’t follow fashion trends.
“We really focus on timeless pieces, that will be really
good investments for your wardrobe, that will not go out of
fashion – they’re still relevant in five, ten, twenty years’ time.”
They are made from organic cottons with a neutral colour
palette. They don’t use a big range of fabrics to ensure what
they do use meets their standards.
“It’s not just helping the one community that makes our
garments, we don’t want to help one and neglect another.
Across the board we want a really soft footprint and really
look after the farmers that grow our cotton.”
Another priority is ensuring nothing from their garments
goes into landfill, which has meant forgoing zips.
“We’re closing our loop, we’re fully circular which means
at the very end of the lifetime of our garments the fabrics
get shredded and woven into new textiles.”
So when Marielle is designing the garments she needs to
take that into consideration.

Feature | Magazine 43
“It’s a bit different being
creative in a small town in
New Zealand, especially after
living in big cities. It’s been an
interesting process.”
“We design toward our values, that is huge to us.”
Deciding to remove zips from their clothing, especially pants,
has been a huge challenge.
“It’s taken a couple of years to get our heads around that but
challenges create new opportunities and we have finally nailed it.”
They now use buttons that can easily be snapped off a
garment and elastic which meets their standards. This means all
her pants now have elastic waistbands.
The range also includes tops, dresses and sweatshirts.
“We keep it simple. All our ranges are trans-seasonal but we
don’t do big winter coats or anything like that.”
They only follow seasonal trends that they feel are sustainable.
“We don’t feel the need for that. We have to rethink what
we wear. It’s really important we don’t design a sleeve that
people say, ‘that is so last year’. We design our silhouette with
that in mind.”
Looking back, she now sees the things that drew her to the
fashion industry as a young designer are the things that put her
off now.
“Back in high school, fashion sounded very exciting and I
was so inspired by what other designers were doing. I loved
Paris Fashion Week, New York Fashion Week but having done
fashion weeks for many years I’m very happy not to be part of
it anymore. I loved it for years but now it’s different parts of the
industry I’m drawn to.”

Feature | Magazine 45
Back to the future
Eyesore or icon – whatever the perspective on Sir Miles Warren’s Dorset Street Flats, there’s no
denying their significance to New Zealand’s architectural canon.
WORDS JOSIE STEENHART | PHOTOS SARAH ROWLANDS / OPEN CHRISTCHURCH
he Dorset Street Flats were regarded as the ugliest
“Tbuildings in town; the tour buses regularly detoured
to see what was dubbed ‘Fort Dorset’. As a young architect I
was proud to achieve such notoriety,” wrote Sir Miles Warren
in his 2008 autobiography of the block of ‘bachelor’ flats he
designed in 1956 and himself lived in until 1965.
“Our friends thought we were so poor we could not afford
plaster on the concrete block.”
Fast-forward nearly 70 years, and Sir Miles’ notorious block
of flats, freshly and painstakingly strengthened and restored
just in time for the 2022 Open Christchurch festival, is now
considered one of the city’s – and country’s – most important
pieces of residential architecture.
These days listed as a Category 1 Historic Place on Rārangi
Kōrero/The New Zealand Heritage List, the cinder block flats
launched the distinct architectural style now known as the
‘Christchurch School’ and have been formative in our national
architectural design ever since.
“The Flats have been described by heritage experts as
“of outstanding significance as one of the most important
Modern Movement buildings constructed in this country,” says
Greg Young, the Christchurch-based architect tasked with
their restoration.
“They are extremely important to New Zealand and
Christchurch architecture. They changed architecture in New
Zealand when they were designed, and continue to influence
our work.”
Extensively damaged in the February 2011 earthquakes and
with seven owners and five different insurance companies
involved, the complicated situation meant the flats were left in
limbo for several years.
Once finally settled and handed over to the owners to
manage, the restoration took a year of planning and two and
half years of construction.
Greg says the flats were in “a terrible state” when he and
his firm Young Architects started work on them.
“They were bent, broken, leaking and vandalised.”
He says the biggest challenges during construction all
involved the interiors.
“The exteriors had been well preserved, architecturally, due
to a heritage covenant, but after 60 years and 20 different
owners, with the ’80s and ’90s interior desecration in the mix,
the interiors were in a bad state.”
“We had to peel back layers to find what they were
probably like originally so we could do the architecture justice.
This involved poring through photos, film clips, memories –
and some surgical forensics. From there we still ended up with
eight flats that are all subtly different (as they were originally)
and a reflection of how they were when first built.”
“From the outside,” says Greg, “you wouldn’t know we’ve
changed anything (unless you look really hard, and know what
you’re looking for), when in actual fact we’ve changed some
things significantly. There are two main areas we needed to
concentrate on – structural resilience, and comfort.
“The structure is predominantly hidden, but one obvious
element we’ve upgraded is some exposed concrete walls in
the downstairs flats.”
“We had to peel back layers to find
what they were probably like originally
so we could do the architecture justice.
This involved poring through photos,
film clips, memories – and some
surgical forensics.”

“The brilliance of Sir Miles’
early designs is difficult to explain
without standing in them – but they
really make your soul sing.”

Feature | Magazine 47
“The only areas we’ve replicated are the landscaping,
where we worked off the original drawings to replicate
some of the courtyard features.”
“For comfort, one of the owners once told me that he
used to get ice forming on the inside of the bathroom in
winter. We’ve insulated, double glazed, and installed central
heating and air conditioning – they are now toasty warm.”
Greg says the most rewarding part of the work is “when
the new occupants tell me how they love living in them”.
Revolutionary for their time and described as providing
a new kind of residential living for the era in terms of their
small size and purpose-built nature, how do they stand
up today?
“At 43m 2 , the Flats are small but perfectly formed,” says
Greg. “They stand up proudly today as a valid reference
point for apartment living, though since they were officially
‘bachelor pads’ the bedrooms and storage are less
than expected.
“The brilliance of Sir Miles’ early designs is difficult to
explain without standing in them – but they really make
your soul sing. The proportion of the spaces, the balance
of materials, and the way natural light is channelled through
the spaces makes these flats truly wonderful. Add to this
north-facing sheltered courtyards, and their vicinity to
Hagley Park, and they really are a joy to live in.
“When I met with Sir Miles to discuss the repairs, he
was surprised at why it was taking so long and costing so
much, as – in his own words – they were so simple to put
together. This surprise is mirrored by many. Twelve years
and a large sum of money were spent restoring such small
simple flats. Their simplicity added so much difficulty, as
there is nowhere to hide.”
View the Dorset Street Flats (architects: F. M. Warren A.N.Z.I.A, 1956–57;
Young Architects, 2021) at this year’s Open Christchurch festival, May 6–7, 2023. openchch.nz

The after-hours stylist
Cantabrian Kate Williams shares some of her stylish and sought-after ways to
repurpose, think creatively and cultivate simple elegance in your home.
WORDS KATE WILLIAMS | PHOTOS ANNA MCLEOD

Interiors | Magazine 49
love of nature and a need to celebrate what each season offers is
A at the heart of Kate Williams’ talent and passion for creativity and
styling, while her popular floral workshops and garden tours at her rural
Canterbury property are sell-out events.
China & cutlery
Fossicked and found
My beloved china cabinet is rearranged regularly to suit the seasons.
While the cabinet itself is its own visual feast, the china is used regularly
no matter how much sentimental value each piece holds. Life is too
short to not use the good crockery, and we all know how much better a
cup of tea tastes in a thin-lipped, gold-rimmed piece of floral beauty.
My china and cutlery collections are also treasures fossicked and found
over the years. Each piece holds a story, from old bone cutlery – some
rescued from clay residue after flooding at our bach, to pieces gifted at
our wedding, and picnic wares brought out year after year. If only these
treasures could speak of the occasions and tell their own stories.
“Life is too short
to not use the good
crockery...”

50 Magazine | Interiors
Dried flowers
Prolonging texture and beauty
My husband and I were married in the old
Majestic Theatre in Christchurch in the early
’90s, and we styled the entire interior in
dried flowers, which was so fashionable at
the time. Most of those arrangements then
furnished our first home, and when I try
to work out why I struggle to embrace the
resurgence of dried flowers these days, I
think I still only associate them with dry and
dusty statice and gypsophila that lingered
too long in our cottage.
However, there are some dried flowers I
can live with, knowing they provide interest
and texture during winter. Hydrangeas,
roses and peonies are all flowers that dry
easily, as do eucalyptus and magnolia leaves.
I have experimented with various
methods, and leaving hydrangeas in a
small amount of water for them to drink
themselves dry in their vase is my best way
to retain their form and colour. You can
also add one-part glycerine to two-parts
water to assist with the drying process.
Another method is to place your chosen
flower in a flat container with silica gel for
48 hours. Silica gel can be purchased online
and is reusable. I hang roses, peonies,
eucalyptus and magnolia leaves to dry with
no other treatment.
Display your dried flowers simply in an
old rusty container or create an artful still
life in a vase placed on a coffee table or
sideboard. To prevent that dry dusty look, I
spray hydrangeas with clear hairspray. Any
flower heads that break or don’t survive
the process are used for other purposes,
like decorating the Christmas tree, placed in
potpourri or as table decorations.
Laundry & linen
Stowed away for safekeeping
While a laundry is often associated with
everyday chores, this room has been
thoughtfully designed so that even mundane
tasks can be done in a pretty space. It has
always been important to me that storage
areas are well organised.
And that they smell nice – my laundry has
a vase of daphne and other fresh flowers in
here, all year round.
The overflow of jars, books and
preserving pans are stowed here. It is also
the place for storing the harvest before
preserving, freezing and dehydrating.
Another item I collect is material – furnishing scraps, fabric offcuts and
linens – so the linen cupboard is a treasure trove waiting for just the right
occasion to use that certain piece of velvet or paisley fabric.
I like placing linen on a dressing table to instantly soften the look, or use
fabric to fancy up a feast or make the everyday more special.
I am always on the lookout for beautiful linens and have been known to fill
suitcases with fabrics when travelling overseas.
Vases & vessels
You can never have too many
Being an avid flower-lover lends itself to collecting a vast array of containers.
I do have plenty – many of them found while fossicking for second-hand
treasures, which is one of my favourite pastimes.
Vessels and vases can range from beautiful glass to tin buckets, fruit-salad
bowls from another lifetime to cans with their labels removed.
The trick is to find somewhere to store them all. My vases and containers
are stored in an indoor studio where it is warm and inviting for the winter
months of sorting and creating. They can also be repurposed to create layers
on a display, to stack cakes and build tiered tablescapes.
Picking fresh blooms and foliage and placing them in a vase of choice is
such a simple way of bringing nature indoors, and it doesn’t have to stop just
because it’s colder and there are fewer flowers available. Just think creatively,
and look and display any beauty of nature.
Extracted from The After-Hours Stylist by Kate Williams & Anna McLeod.
Published by Bateman Books, RRP$60.

Promotion | Magazine 51
DIRECTORY
HOME & LIVING
RESENE
Is it any wonder blue is
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(pictured). View the full collection
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LITTLE RIVER GALLERY
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Ranging in size from 15cm to 55cm and
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ANY EXCUSE
For those in need of a baby gift, Any
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Add texture to your décor with
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EXTERNAL AFFAIRS
with Tim Goom
For the love
of garden design
The Little Big Tree Company is
Canterbury’s premier supplier of
high-grade plants and trees, large
and small.
Part of Lifespace HQ which also includes
Goom Landscapes, Compass Pools
Christchurch and The Little Big
Trellis Company.
Established over a sprawling 10 acres on
Sawyers Arms Road, the nursery not only
has a huge range of plants and helpful knowledgeable staff- but also a very
talented designer, Lorraine Parry. We caught up with Lorraine to discuss
her love of garden design.
When did you discover your passion for garden design?
As a child, my grandfather was a breeder of chrysanthemums- one of
my earliest memories was taking these to the county shows. As kids, we
would sit with vases of chrysanthemums between our knees. Granddad,
in his broad Lancashire accent would say ‘mind’t flowers’. I grew up around
flowers and that’s where my passion began.
After marrying and buying our first home, I became excited about the
luxury of designing my own garden. We eventually built on Sawyers Arms
Road in the early 2000s- my husband and I planned the layout and Chris
Goom came to give me some advice. He walked around my garden, arms
crossed, contemplating then said, ‘Huh- what do you need me for?’. At
the end of the consultation, he offered me a job. He went on to teach me
so much about garden design. I worked for Chris before his retirement
and then had a hiatus for several years helping in my husband’s building
business- switching to designing homes instead of gardens.
After a stint in Nelson my passion for garden design was reignited. As a
test, to see if I still ‘had it’ I was asked to create a plan for a fictional client
of the nursery. Ever since, I have been happily working here, meeting with
clients and creating garden designs.
Do you have a particular garden design style?
No, every house and client is different and so I consider all of those factors
(including architecture of the home, aspect of the site, whether low
maintenance is important or whether they are avid gardeners etc) as part
of my design.
Do you prefer urban or rural garden design?
I live on a 10-acre lifestyle block, so I am very familiar with how to get
the most out of a block that size without too much work. However, I
can get very excited about the smallest Courtyard as these create some
wonderful opportunities to display great design in a limited space.
What services do you provide at The Little Big Tree Company?
We provide a Garden Consultation Service (fee on application). This
involves an on-site visit, where we leave the client with a sketch and a list of
recommended trees and plants. Sometimes this might suffice for a client to
move forward but if a more detailed plan is required, we can provide a full
‘to scale’ landscape layout and planting plan. Clients are also welcome to visit
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54 Magazine | Travel
CHECK IN
QT Bondi, Sydney
WORDS JOSIE STEENHART
THE LOCATION
Bondi Beach surely needs no introduction, but just in case
you’ve been living under a rock, it’s one of Australia’s bestloved,
busiest beaches, complete with golden sand and big
waves, bikinied bods and budgie-smugglers galore, plus some
of Sydney’s best shopping, eateries and bars.
Chilling on the edge of the beach and the front row
strip, smartly set just back from the crazy crowds and party
noise, QT Bondi is part of the Bondi Pacific complex, and
is surrounded by buzzy spots to dine, drink, splash cash or
make a splash (in the sea), but once you’re inside feels like a
peaceful retreat.
THE LOWDOWN
Opened in 2015, QT Bondi boasts the only high-end
boutique apartments on Bondi Beach.
There are 60 spacious rooms and suites, each individually
themed, with a playfully beachy yet still super luxe feel. Every
room includes lovely living spaces (some separate), deliciously
deep bathtubs, rainforest showers, kitchenettes and washing
machines/dryers, and most offer Juliette balconies or terraces.
THE EXPERIENCE
The hotel lobby sets the scene for your whole stay
experience, with artwork by Australian-born, London-based
artist Shaun Gladwell nodding to Bondi’s unique surf culture
and suitably friendly, laidback (but still profesh) greetings
from reception staff.
As mentioned, all rooms are generously sized and
thoughtfully designed to keep the beach-retreat vibes
going, right down to the details, from quirky but hard
to resist mini bars and Kevin Murphy toiletries to Bose
bluetooth music systems and Dyson hair dryers (and
straighteners on request).
A decent bed is a big plus for me, and QT Bondi fully
delivers, with its bespoke signature QT Dream beds.
The concierge desk is there to help you with whatever
you need, from bikes to the best local bites to where to
pick up a pair of jandals if you forgot to bring yours (answer:
there’s a spare pair in your room).
EAT/DRINK
Breakfast in bed is highly recommended at QT Bondi, so
much so that you can order it to be delivered to your
room – from avocado and feta smash on sourdough and
brunch burgers to brekkie burritos, wellness bowls and
housemade granola.
If and when you’re ready to leave your room, you’re
spoiled for choice, but some recommendations include
Icebergs Dining Room (fancy, plus you can take a dip in
that famous sea pool while you’re there), outside the box
noodles and nibbles from Chaco Ramen, and newly opened
Promenade housed in the groovy 1970s Bondi Pavilion
building, which offers three different menus/styles of dining.
Also do not leave without at least one gelato – Mapo,
Chahas, Anita and Gelato Messina are all next level.
qthotels.com/bondi-beach

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DINNER’S READY!
Dish up these school holiday-friendly meals and baking treats that the whole family
can create – that are also great for entertaining extra guests.

FIVE BUDGET-FRIENDLY AUTUMN
FAMILY DINNERS
SHOPPING
LIST
Hearty minestrone
An Italian-inspired soup with chunky vegetables and pasta, perfect to feed a crowd
on cooler autumn evenings. Loaded with vegetables, you can also add leftover
chicken or beef.
Serves:
4
Prep time: 15 mins
Cooking time: 30 mins
1 tablespoon oil
1 onion, finely diced
2 garlic cloves, grated or 1 teaspoon crushed garlic
1 teaspoon dried mixed herbs
750ml (3 cups) reduced salt chicken stock
500ml (2 cups) water
400g can chopped tomatoes
2 large carrots, cut into 1cm cubes
2 medium potatoes, cut into 1cm cubes
200g dry pasta
⅓ pumpkin, cut into 1cm cubes
2 x 400g cans cannellini beans, drained and rinsed
150g (1 cups) frozen peas
salt and pepper, to taste
150g frozen chopped leaf spinach
Heat oil in a large pot on the stove over medium–high heat. Sauté onions until
softened and stir through garlic, fry until fragrant. Mix in the dried mixed herbs.
Carefully pour in the stock, water and chopped tomatoes into the pot. Stir through
the carrots, cover with a lid and turn the heat to high to bring to a boil.
Add potatoes, stir and bring to a boil. Add pasta, cook for about 5 minutes while
stirring occasionally.
Mix in pumpkin, cannellini beans and peas, bring to a boil and test taste, adding salt
and pepper if needed. Stir through the frozen spinach. Once simmering and pasta
and vegetables are tender it is ready to serve.
Produce
2 onions
11 carrots
5 potatoes
1 pumpkin
120g seasonal salad leaves
2 pears
2 red onions
2 broccoli
Butchery
500g beef schnitzel
500g skinless chicken thighs
Chilled
125g sour cream
250g cheese
Frozen
500g chopped leaf spinach
750g peas
Grocery
1 litre reduced salt chicken stock
3 x 400g canned chopped tomato
500g pasta
2 x 400g canned cannellini beans
400g canned black beans
6 eggs
220g panko breadcrumbs
425g canned tuna
8-pack wholemeal pita bread
70g walnuts (optional)
Pantry staples*
oil, for frying
garlic – fresh bulbs or crushed
dried mixed herbs
flour, plain
salt
pepper
paprika – sweet or smoked
your favourite salad dressing
*
These items are usually found in your
pantry and not included in the budget.

MEXICAN-INSPIRED
BAKED EGGS
BEEF SCHNITZEL WITH PEAR
& WALNUT SALAD
FRIDAY NIGHT CRISPY CHICKEN
WITH SMOKY ROAST VEGES
ONE-POT CREAMY
TUNA PASTA
USE OUR MEAL PLANS TO SHOP AND
CREATE FIVE EASY DINNERS:
DOWNLOAD
This week’s shopping list
and recipes online.
SHOP
In-store or online
and start saving.
CREATE
By following easy
recipes each night.
ENJOY
Delicious and nutritious
dinners with your family.
Download recipes newworld.co.nz/meal-plans

CALLING ALL SCHOOL
HOLIDAY BAKERS
We’ve put together tasty-as baking recipes that are easy
and fun to make, perfect for the kids to help with!
Cookie Time lolly log slice
Treat yourself and your family with this delicious lolly log slice made
with Cookie Time biscuits and condensed milk. Your kids will love it!
5 INGREDIENT HONEY BUBBLE SLICE
Serves:
10 Slices
Prep time: 15 mins +
cooling time
4 x Cookie Time Original Chocolate Chip cookies
120g melted butter
⅔ cup sweetened condensed milk
150g marshmallow based lollies, chopped into small pieces
100g white chocolate, melted
½ cup shredded coconut
Using a food processor or by hand, crush the Cookie Time cookies
until they reach a sandy consistency.
In a large bowl, combine the crushed cookies with the melted
butter, condensed milk, a pinch of salt and the chopped lollies. Stir
well until fully incorporated, then press into a lined slice tin.
Take the melted white chocolate and drizzle generously over the
slice. Top with the shredded coconut, then place into the fridge to
set for 1–2 hours or until firm.
Once set, cut the slice into squares and serve, or store in an airtight
container in the fridge for up to 5 days.
AFGHAN BISCUIT SLICE
For more recipes head to newworld.co.nz

Garden to table
Inspired by the abundant lemon trees and tomato vines of her Italian grandparents’
garden, Bri DiMattina – a home gardener and trained chef who inherited her love of good food
from her chef mother and her Italian nonna – shares three delicious recipes from her new
book Nostrana using fresh produce you can easily grow and harvest yourself.
WORDS BRI DIMATTINA | PHOTOS LOTTIE HEDLEY

62 Magazine | Recipe
ZUCCHINI ARANCINI
Arancini are usually made with rice, often from
leftover risotto. They have a delectable filling, such as
cheese, truffle or ragu and are rolled in breadcrumbs
and deep-fried. A lot of Italian cooking represents this
style of using up everything, and is the spirit of this
dish. If you, like me, are seduced into planting lots of
zucchini, unsurprisingly you will have lots of zucchini
to use up, so this is for you.
Arancini are Sicilian and southern Italian, and a
similar recipe in Rome is called suppli. There are many
variations and other names as you travel through
Italy, but I think this one, made purely from grated
zucchini, is a uniquely New Zealand garden version.
Serves 6
3 zucchini, grated
1 tablespoon olive oil
1 onion, finely chopped
2 garlic cloves, crushed
Small handful of parsley, finely chopped
Thyme leaves, to taste
1 teaspoon cracked black pepper
2 eggs
½ cup (40g) finely grated pecorino
½ cup (100g) fine dry breadcrumbs, plus more, to coat
100g mozzarella, cut into 1cm cubes
Vegetable oil, to deep-fry
Place the grated zucchini into a clean tea towel and wring
out over the sink, to remove excess liquid. Place zucchini
into a large bowl.
Heat the olive oil in a frying pan over medium-low heat.
Gently cook the onion and garlic until translucent, then
add to the zucchini.
Add the parsley, thyme, pepper, eggs, pecorino and
breadcrumbs.
Mix well and season with salt and pepper. If the mixture
seems too wet add some more breadcrumbs, though it
should be fairly moist.
Take a small handful of the mixture and flatten a little in
the palm of your hand. Place a cube of mozzarella in the
centre, then enclose with the zucchini mixture and shape
into a ball. Roll in the fine breadcrumbs to thoroughly coat.
Half fill a large saucepan with vegetable oil and heat over
medium high heat. Deep-fry arancini in batches until
golden brown. Drain on paper towel.
Note: You can make these in big batches and freeze them
after crumbing. They make a great lunch snack in the
middle of winter.

TOMATO CAPER SAUCE
WITH PARMESAN FISH
This sauce is essentially a ‘cooked salsa’ to
serve on fish, chicken or even beans, rather
than as a pasta or pizza sauce (although go
right ahead!).
It’s a summer flavour bomb and goes
with everything. Most memorable for me
growing up was this sauce served on blue
cod, so that’s what I’m giving you here. If
you like, make a bigger batch of the sauce
and keep it in the fridge or freezer to have
on hand for a quick meal.
Serves 4
Plain flour, for dusting the fish
4 blue cod fillets
3 eggs
¼ cup (60ml) milk
Chopped fresh herbs (such as
parsley, thyme or oregano), to taste
½ cup (40g) finely grated
parmesan
Butter or olive oil, for frying
TOMATO CAPER SAUCE
2 tablespoons olive oil
1 onion, finely chopped
2 slices pancetta or streaky bacon
4 large tomatoes, chopped
5 garlic cloves, crushed
1 teaspoon lemon zest
½ teaspoon paprika
¼ teaspoon cayenne pepper, optional
2 tablespoons tomato paste
1 cup (250ml) water
1 cup (250ml) white wine
1 cup combined oregano and
parsley leaves, finely chopped
100g butter, chopped
¼ cup (50g) capers
To make the sauce, heat the oil in a large, deep frying pan over
medium-high heat. Add the onion and cook until translucent, then
add the pancetta and cook until crispy.
Add the tomatoes, garlic and lemon zest. Cook for a few minutes,
until the tomatoes have reduced down a little, then add the spices,
tomato paste, water, wine and half the herbs. Simmer for about 10
minutes, until it thickens. Add the butter and stir until melted and
combined.
Remove from the heat and add the remaining herbs and capers (if
you want, you could fry the capers in a little butter until crispy first).
Season with salt and pepper to taste and set aside.
Season the flour with salt and pepper then use to lightly dust the
fish. I do this by placing a few tablespoons of seasoned flour to a bag,
then adding the fillets and shaking gently to coat evenly.
In a shallow bowl, lightly whisk the eggs and milk together, then stir
in the herbs and parmesan.
Heat the butter or olive oil in a large frying pan over medium heat.
Dip the fillets into the egg mixture and place into the pan (you may
need to spoon a little of the herbs and cheese left in the dish on top
of them). Cook for about 5 minutes each side, until lightly golden
brown and just cooked through.
Reheat the sauce and serve with the fish on top.
Note: You could swap the blue cod for monk fish, or talk to your
fishmonger for other alternatives.

64 Magazine | Recipe
SPICED APPLE CAKE
This recipe hails from my mother’s café,
Eliza’s Pantry. It’s super simple and uses
four apples with their skin on. The apples
don’t have to be at their best, it’s a little like
a banana bread recipe for apples. They can
be rescued because no one is inclined to eat
them, and turned into something delicious –
but the best part is that it is all just mixed up
in a food processor then baked.
Serves 12
4 apples, quartered, cored, but not peeled
2 eggs
2 cups (440g) sugar
2 teaspoons bicarbonate of soda
2 teaspoons ground allspice
250g butter, at room temperature, chopped
2 cups (300g) plain flour
1 teaspoon ground cinnamon
Ice cream and caramel sauce, to serve
Cinnamon crumble
½ cup (110g) brown sugar
½ cup (45g) rolled oats
1 teaspoon ground cinnamon
25g butter
Preheat the oven to 180°C fan-forced. Grease
a 23cm springform tin and line with baking paper.
To make the crumble, combine the ingredients
in a food processor and process until crumbly.
Transfer to a bowl and set aside.
For the cake, place the apples into the food
processor and process until finely chopped.
Add the remaining ingredients and process for
1 minute. Pour into the prepared tin and sprinkle
with the topping.
Bake for 1–1.5 hours, until a skewer inserted
into the centre comes out clean. Cool in the pan
for 10 minutes, then transfer to a wire rack to
cool completely.
Serve with ice cream, caramel sauce, or both.
Extracted from Nostrana by
Bri DiMattina. Published by
HarperCollins NZ, RRP$55.

66 Magazine | Recipe
03 Mixology
With our editor ensconced
at the historic Fable hotel
during iD Dunedin 2023,
it seemed like the perfect
time to request a suitably
stylish, appropriately
themed cocktail recipe to
share with our readers.
Set like a jewel at the front of
the recently renovated Victorian
building, Fable Dunedin’s
bespoke bar and restaurant
The Press Club pays homage
to the city’s original haunt
for journalists, editors and
publishers from the 1870s.
Custom-made by talented
food and beverage manager
Jeremy Jourdain, this beautifully
moody tipple features rich fruit
flavours with a touch of citrus,
finished with champagne for a
playful fizz.
THE DARKNESS
20ml Scapegrace Black gin
20ml Graham’s Six Grapes port
20ml crème de cassis
15ml fresh lemon juice
15ml maraschino cherry syrup
Dried raspberry powder, to garnish
Shake with ice, then top up with
champagne in a margarita glass.

Art | Magazine 69
Cut it out
Passionate about printmaking since the acquisition of his first (Ralph Hotere)
print as an art history student “many years ago”, Christchurch Art Gallery curator
Peter Vangioni talks about new exhibition Ink on Paper, a selection of print works made
during one of the most dynamic periods in Aotearoa’s art history.
WORDS PETER VANGIONI
Make no bones about it, Ink on Paper: Aotearoa New
Zealand Printmakers of the Modern Era is an exhibition
I have long wanted to curate. I acquired my first print direct
from Ralph Hotere when I was an art history student here
in Christchurch many years ago. Hotere was the artist that
piqued my interest in printmaking, but it is the Aotearoa
New Zealand printmakers of the 1910s through to the 1950s
that I love the most.
Ink on Paper focuses on a generation of artists that were at
the forefront of the medium when, following the printmaking
revival in Britain, printmaking in Aotearoa was increasingly
becoming accepted as an art form rather than simply a
method of reproduction.
Ink on Paper includes examples of linocut, woodcut,
wood‐engraving, lithography, etching (and even a humble
potato print) by well-known artists such as Adele
Younghusband, Rita Angus, Rhona Haszard, Doris Lusk
and Colin McCahon alongside others that have fallen into
obscurity like Marion Tylee, Harry Vye Miller, Gertrude Ball,
Nancy Bolton and Frank Weitzel.
Collectively however, as Marion Maguire says, “their artistic
impulse shines through” and they laid the groundwork that
subsequent generations of printmakers built upon.
I love the roughness of many of the works in this exhibition
and the linocuts in particular – a new medium for the new
modern era of the 1920s and 1930s. The linocut encouraged
simplification of form, and detail and imagery are often
reduced to basic elements – solid masses of black and white
rather than tonal gradations.
The prints in Ink on Paper are, on the whole, small
in size, subtle and intimate but ambitious. It is this that
appeals so greatly to me – you have to get up close to
experience the art.
I found the development of this exhibition highly rewarding,
from taking stock of the Gallery’s collection of prints from
this era, to ascertaining where the gaps were and figuring out
how to fill them.
Through purchase and gift we have added some stunning,
and often rare, examples of printmaking by Rhona Haszard,
Harry Vye Miller, Adele Younghusband, Gertrude Ball, Mabel
Annesley, Leo Bensemann, Ivy Fife and Chrystabel Aitken to
name a few.
Some prints, such as Haszard’s ‘Sidi Bishr, Egypt’ and
Francis Shurrock’s ‘Poppies’, both coincidently linocuts made
around 1929, were in a sorry state and required extensive
conservation treatment by the Gallery’s works on paper
conservator Eliza Penrose.
I’d describe ‘Sidi Bishr’ as being on life support when it first
came into the Gallery but Eliza was up to the challenge and
has done a remarkable job in saving this print. It is the only
copy of this stunning work known to exist and was originally
in the collection of Harry Vye Miller.
Haszard studied in Christchurch at the Canterbury College
School of Art and, after leaving for Europe in 1926 with her
husband and fellow artist Leslie Greener, eventually settled in
Alexandria, Egypt.
While in London in 1929 the pair visited the First
Exhibition of British Lino-Cuts organised by Claude Flight
at the Redfern Gallery and were inspired to begin
making linocuts.
Back in Alexandria, they worked with the medium in
earnest from October 1929 to March 1930, when the results
were included in the exhibition Modern Woodcuts. It is a
confusing title but the prints exhibited were all linocuts – the
artists saw little distinction between these two similar types
of relief prints.
A short while later the pair contributed prints to the
Second Exhibition of British Lino-Cuts at the Redfern Gallery
alongside some of Britain’s most highly regarded printmakers,
Claude Flight, Sybil Andrews and Cyril Power.
Francis Shurrock’s ‘Poppies’ was also not in good
shape when it was acquired as part of a larger grouping
of the artist’s prints, photographs, sketchbooks, designs
and sculptures.
OPPOSITE: Francis Shurrock, ‘Poppies’ c. 1929. Linocut and watercolour.
Collection of Christchurch Art Gallery Te Puna o Waiwhetū, purchased 2021.

70 Magazine | Art
“I love the roughness of many of the works in this
exhibition and the linocuts in particular – a new medium for
the new modern era of the 1920s and 1930s.”
Given the rarity of this linocut, and the fact it was a unique
version that had been hand-coloured with watercolours
by the artist, it was also felt to be worthy of some muchneeded
conservation treatment by Eliza and rescued for
future generations to enjoy.
Shurrock was one of the young generation of progressive
British artists who immigrated to New Zealand during
the 1920s under the La Trobe Scheme, taking up teaching
positions at art schools across the country in a bid to
modernise attitudes towards art.
Many of them, including Shurrock, Robert Field, William
Allen and Roland Hipkins, had first-hand experience of the
revival of printmaking that began in England in the 1910s,
which they shared with their New Zealand students.
One young artist who benefited immensely from the La
Trobe Scheme was Harry Vye Miller. He studied under Field
and Allen at the Dunedin Art School in the late 1920s and
early 1930s, where Allen encouraged him in his printmaking.
Miller’s family gave me access to a folio of his prints from
this period, and it was an amazing experience to go through
the unframed works. A selection was made to add to the
Gallery’s collection and the story of this relatively little-known
artist and his intense interest in printmaking unfolded.
Miller went on to become a champion of the linocut in
New Zealand, producing numerous examples himself as well
as taking up the artist/educator role. In 1942 he wrote the
article ‘Teaching Linocutting’ for Art in New Zealand, in which
he advocated the democratic nature of the medium and its
suitability for its use by artists and art students alike, due to
the fact that the materials used were very affordable and
within anyone’s reach.
One of the least known yet most talented printmakers
of her generation, Hinehauone Coralie Cameron produced
wood-engravings and linocuts that were at the forefront of
regionalism in New Zealand.
Like so many of her contemporary artists she travelled to
England in the late 1920s. There, she studied printmaking at
the Central School of Arts and Crafts in London; her interest
in modernism grew and she developed an appreciation for the
avant-garde Vorticist movement under the tutelage of British
artist William Roberts.
Returning home to her family farm at Te Ore Ore in the
Wairarapa, she continued her efforts as a printmaker, focusing
on farm work, rural landscapes and wharves at Wellington
harbour as well as modern Māori life at Te Ore Ore.
Cameron was one of the few New Zealand artists to work
as a wood-engraver during the 1930s, although her work
was viewed as too modern by some and was refused for
exhibition by the committee of the New Zealand Academy
of Fine Arts in 1937.
Extant examples of her printmaking are extremely rare,
which accounts for the relative obscurity of her profile as a
printmaker – something I hope that Ink on Paper will rectify.
In the 1950s, lithography was taken up by several New
Zealand artists including Juliet Peter, Louise Henderson and
Colin McCahon.
Peter in particular fully embraced the medium in her art
practice. In England during the first half of the 1950s, she
and her husband Roy Cowan studied lithography at London’s
Central School of Arts and Crafts and the Hammersmith
School of Arts and Crafts.
Lithography was going through a revival at this time, with
many contemporary British painters producing limited-edition
original lithographs.
The complicated printing process aside, lithography is a
very natural medium for painters because it closely resembles
painting in the use of washes and crayons.
Peter found she had a natural and intuitive connection
with it, although she wrote of finding its technical challenges
“exasperating”.
In 1954 she sent eight lithographs from London for
inclusion in the annual Group Show here in Christchurch,
and when she returned to New Zealand the following year
she and Cowan brought with them a lithographic press, with
which they continued to make prints from their studio in
Wellington for several decades.
Although only a handful of artists are included in this
article, Ink on Paper is the first extensive survey dedicated
to printmaking from the Modern era. There is nothing
ostentatious about the prints in the exhibition, yet together
they are some of the most riveting works produced by New
Zealand artists.
Their impact is in the materiality of ink on paper, the
duality of elegance and brutal simplicity, the skill required in
their execution, and the personal scale on which they are
made and viewed. These printmakers were at the forefront
of modernism and the establishment of a New Zealand
printmaking tradition, bringing the medium rightfully into the
fold of respected creative practice alongside painting and
sculpture, and contributing their own voices to a body of
printmaking work we can all delight in.
Originally published in B.211 by Christchurch Art Gallery
Te Puna o Waiwhetū.
Ink on Paper: Aotearoa New Zealand Printmakers of the Modern
Era runs until May 28, 2023 at the Christchurch Art Gallery.

FREE | APRIL 2023
DOUBLE DENIM: MEG GALLAGHER’S CREATIVE SHIFT TO DUNEDIN | A SNEAK PEEK INSIDE SIR MILES WARREN’S ICONIC
DORSET STREET FLATS | FOR THE LOVE OF LOCAL: THE OTAGO FARMERS MARKET TURNS 20 | CANTABRIAN KATE WILLIAMS
SHARES SOME STYLISH TIPS FOR HOME | FROM PARIS TO CLYDE: MARIELLE VAN DE VEN DESIGNING SUSTAINABLE
FASHION FROM DOWN SOUTH | BRI DIMATTINA’S DELICIOUS ITALIAN-INSPIRED GARDEN-TO-TABLE RECIPES
Art | Magazine 71
FROM LEFT: Juliet Peter, ‘Facades, W.9’, 1954.
Lithograph. Collection of Christchurch Art
Gallery Te Puna o Waiwhetū, purchased 1954;
Roland Hipkins, ‘East Cape’, 1940. Woodcut.
Collection of Christchurch Art Gallery Te Puna
o Waiwhetū, purchased 1992.
“The prints are, on the whole, small in size, subtle and intimate but ambitious. It is this
that appeals so greatly to me – you have to get up close to experience the art.”
01 April - 25 April 2023
OPENING - 01 April 11am
PHILIP BEADLE
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& LIGHT
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The South Island
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free across the 03.
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+64 3 325 1944
littlerivergallery.com
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Main Rd, Little River

72 Magazine | Read
Book club
Great new reads to please even the pickiest of bookworms.
WINNING REVIEW
YOU'VE BEEN
READING
KIND
Stephanie Johnson | Penguin $37
Super yachts and stereotypes, #metoo blunders and postapocalyptic
bolt holes, locking down and locking up – noted
New Zealand writer Stephanie Johnson returns with an
action-packed, highly entertaining novel following political
party backbencher and member of the Pandemic Response
Committee Lyall Hull as he embarks on a lengthy bike ride in
the Southern Alps (instead of staying home during lockdown as
the government has advised), and subsequently goes missing.
HOMECOMING
Kate Morton | Allen & Unwin, $37
At the end of a scorching hot Christmas Eve day in 1959,
beside a creek in the grounds of a grand country house, a
local man makes a terrible discovery. Police are called, and the
small town of Tambilla becomes embroiled in one of the most
baffling murder investigations in the history of South Australia.
The highly anticipated new novel from the worldwide
bestselling author of The Clockmaker’s Daughter, Homecoming is
an epic, intricate story that spans generations.
VERITY
Colleen Hoover
Hachette, $25
Did Verity live up to the hype
from #booktok? Yes it did.
Normally a slow reader, I
finished this fast-paced and
suspenseful thriller in under
a week. I found some parts
so disturbing I couldn’t read
them at night. It’s also worth
mentioning this book contains,
like, a lot of sex. Prepare to
clutch your pearls, people.
Not for prudes or scaredy
cats, but Verity is practically
made for the big screen.
- Jess McLean
LAUGHING AT THE DARK
Barbara Else | Penguin, $40
From best-selling and acclaimed Kiwi author Barbara Else comes
this funny, moving memoir structured in delightful snippets of
memory and loaded with Else’s signature wit. Dedicated to her
grandmother “although she would be horrified by much of this”,
Else’s tale is of her transformation from a shy but stubborn child,
through her ‘housewife’ era and into a fulfilled, successful adult,
surviving cancer and finding new love along the way, and how
she rebelled against being a ‘good girl’.
THE DECK
Fiona Farrell | Penguin, $37
A vivid and absorbing new novel from award-winning
Otago-born author Fiona Farrell, The Deck borrows the
motifs of Giovanni Boccaccio’s 14th-century masterpiece
The Decameron in which a small group gathers to avoid
contagion and passes the time telling stories. Farrell’s work
takes us “a little way off in the future” during a time of plague
and social collapse, where a group of friends escape to a
country house and entertain themselves playing music, eating,
drinking and talking about their lives.

Read | Magazine 73
PICCADILLY PICKS
THE ITALIAN
DAUGHTER
Soraya Lane
Little, Brown Book Group, $37
Soraya tells a story of mystery,
love and family set in Italy. Lily
is a viticulturist who has been
working in a vineyard in New
Zealand and is in London on
her way to work in a vineyard
in Italy. In London she receives
a letter to an appointment at a lawyers. Here she learns
from the lawyer that her grandmother Estee was an
unmarried mother who left behind a box with clues as
to Lily’s family history.
Lily travels to Italy to work in the vineyard and with the
help of the owners and the owner’s son, Antonio, traces
the clues left in the box. This leads to finding out about
Estee as a young girl and her childhood friend Felix.
The novel flashes back to Estee and her life to help
reveal the history and mystery.
I enjoyed the story and learning about the characters.
I wanted to read to the end to see what the outcome
was, to see if Lily would find out about her grandmother
and whether she would be able to follow her love once
she found the truth. An enjoyable light read of intrigue
and story of love encompassing generations.
- Robyn Joplin
THE TRAITOR OF
COLDITZ
Robert Verkaik
Welbeck Publishing, $40
Colditz Castle became the
German prison in which some
of the most “difficult” allied
officer prisoners of war were
held during WWII. Post-war
histories, biographies and
movies have recorded and
illustrated the remarkable escape attempts made. So,
as a prison largely run under the terms of the Geneva
Convention, it is one of the most renowned internment
camps not directly connected to the monstrous Nazi
system of extermination.
Here, Robert Verkaik has – after extensive research
into archives in England, France and Germany and
interviews with surviving participants – given new insight
into the espionage, counter-espionage, acts of great
bravery, loyalty and disloyalty. The cast of characters is
huge, inside and outside Colditz.
- Neville Templeton
WIN WITH PICCADILLY BOOKSHOP
READ ANY GOOD BOOKS LATELY?
Send us 50–75 words on why you recommend it, with the title and your first and last name for publication,
to josie@alliedpressmagazines.co.nz and you could win a $25 voucher to spend at Piccadilly Bookshop.
we love books
www.piccadillybooks.co.nz
Shop 1, Avonhead Mall Corner of Merrin Street & Withells Road, Avonhead | P. 358 4835

74 Magazine | Win
Win with 03
Every month, 03 Magazine sources a range of exceptional prizes to give away.
It’s easy to enter – simply go to 03magazine.co.nz and fill in your details on the
‘Win with 03 ’ page. Entries close April 20, 2023.
How glassy
From their hot glass studio in Adelaide, Meg and David
of Caslake & Pedler Glass hand-make their glass, melting
and colouring the sand then creating each beautiful piece.
Stocked locally at 77 Art & Living, we have a set of four
Gelati bowls to give away, worth $200.
77artandliving.com
Happy (skin) days
New Zealand’s favourite natural skincare brand is changing
the narrative on beauty and skin health with its newest
skincare innovation – Happy Skin by Essano. Even better
news, we have two full sets (worth $130 each) of the new
range to win, each featuring a Clean Canvas Jelly Cleanser,
Prep & Balance Nutrient Toning Mist, Supercharge Glow
Serum and Bounce Water Day Cream.
essano.co.nz
Take a drive
From much-loved Aussie fragrance company Glasshouse
comes an innovative – and very stylish – way to scent
your car. Available in two cool colourways (all-black Lost
in Amalfi and white/gold A Tahaa Affair), the Scent Diffusers
($50 each) are refillable and easy to use – with a single
twist, the Scent Disk inside is activated and will dispense
a perfect amount of your favourite fragrance. We have
three up for grabs.
nz.glasshousefragrances.com
Made in Dunedin
From talented Dunedin fine jeweller Joanna Salmond, we
have this stunning pair of Onyx Silver Flat Square Wave
earrings, worth $89, to give away to a lucky reader. Classic
with a twist, these delightful onyx and sterling silver
earrings add a touch of chic sparkle at any time of the day.
joannasalmond.co.nz
PREVIOUS WINNERS
Beauty Chef CLEANSE Inner Beauty Support: Kim Knight, Lynley McDonald;
Ōtautahi Christchurch Architecture: A Walking Guide books: Paula Wiggins, Stephanie Ashby, Robyn Johansen;
Bondi Sands kits: Jo Eckhoff, Terry James, Karyn Wheeler; MATER Beauty serums: Margaret Beaver
*Conditions: Each entry is limited to one per person. You may enter all giveaways. If you are selected as a winner, your name will be published in the following month’s edition.
By registering your details, entrants give permission for Allied Press Magazines to send further correspondence, which you can opt out of at any stage.

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