03 Magazine: March 08, 2024

the 

South 

island 

lifestyle 

magazine 

FREE | March 2024 

A FAULTLESS (AND AWARD-WINNING) BEACH HOUSE ON THE HILL AT TAYLORS MISTAKE | FROCK STARS: MUCH-LOVED MUSO 

JULIA DEANS & DUNEDIN DESIGNER TANYA CARLSON’S COOL FASHION COLLAB | A BLOSSOMING CANTERBURY FARM 

EMBRACES THE SLOW FLOWER MOVEMENT | PATRICIA GRACE SHARES A SHORT STORY FROM HER NOTEWORTHY NEW BOOK 

FANCY ONION DIP, GOURMET BAKED BEANS & A SWEET-AS PUDDING: KELLY GIBNEY’S DELICIOUS TAKE ON KIWI COMFORT FOOD

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Otago Realty (Wānaka) Ltd. Licensed REAA 2008

6 Magazine | Editor’s note 

Based on the number of colleagues who have complimented 

this issue’s cover as they’ve passed by my desk this week, I’m 

pretty hopeful we’ve got another winner on our hands, and 

perhaps that was what compelled you too to pick up the copy 

you’re now holding, reading and fingers crossed, enjoying? 

It’s an image that caught my eye also, when the New Zealand 

Institute of Architects announced their picks late last year 

and it took out two top awards, and I’ve been awaiting the 

opportunity to showcase the striking Taylors Mistake home 

ever since. Find out more about this brilliant build and its 

outside-the-box inspiration on page 28. 

Elsewhere, there is, as always, plenty to keep you engaged, 

entertained and informed, whether your green thumb draws 

you to the gorgeous Canterbury flower farm on page 42 or your 

grumbling stomach leads you to Kelly Gibney’s gourmet takes 

on Kiwi comfort food (think fancy onion dip and a French 

stone fruit pudding) on page 56. 

I’m also very proud to be able to include a short story from 

preeminent and much-loved author Patricia Grace’s new book 

– find it on page 68. 

PUBLISHER 

Charlotte Smith-Smulders 

Allied Press Magazines 

Level 1, 359 Lincoln Road, Christchurch 

03 379 7100 

EDITOR 

Josie Steenhart 

josie@alliedpressmagazines.co.nz 

DESIGNERS 

Annabelle Rose, Hannah Mahon 

PROOFREADER 

Mitch Marks 

ACCOUNT EXECUTIVE 

Janine Oldfield 

027 654 5367 

janine@alliedpressmagazines.co.nz 

CONTRIBUTORS 

Bruce Mackay, David Straight, Emily Raftery, Helen Templeton, Jane 

Mahoney, Johannes van Kan, Josephine Meachen, Kelly Gibney, Makoto 

Takaoka, Mike Yardley, Neville Templeton, Peter McIntosh, Rebecca Fox, 

Reef Reid, Sophie Bannan, Tez Mercer 

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 

Enjoy! 

Josie Steenhart, editor 

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. 

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OTAGO MARKET REPORT 2024 

YOUR ROADMAP 

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Alexandra | Balclutha | Cromwell | Dunedin | Queenstown | Wanaka 

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8 Magazine | Contents 

In this issue 

22 

FEATURE 

38 A New Zealand food story 

Southern produce is the star of the show 

Resene 

Bingo 

COLOURS OF 

THE MONTH 

COVER FEATURE 

28 Life’s a beach 

Step inside the award-winning 

Taylors Mistake home of 

architect Tim Nees 

FASHION 

24 Sail away 

Chic stripes and dark denim hit 

in time for a SailGP-inspired ’fit 

34 Frock stars 

Dunedin design icon Tanya 

Carlson and music maven Julia 

Deans talk creative collabs 

HOME & INTERIORS 

22 Most wanted 

What the 03 team are coveting 

right now 

FOOD 

56 Golden Kiwi 

Kelly Gibney’s tasty nostalgic 

take on our comfort food faves 

RecoveR youR 

loved fuRnituRe 

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FREE | MARCH 2024 

A FAULTLESS NEW (AWARD-WINNING) BEACH HOUSE ON THE HILL AT TAYLORS MISTAKE | FROCK STARS: MUCH-LOVED MUSO 

JULIA DEANS & DUNEDIN DESIGNER TANYA CARLSON’S COOL FASHION COLLAB | A BLOSSOMING CANTERBURY FARM EMBRACES 

THE SLOW FLOWER MOVEMENT | PATRICIA GRACE SHARES A SHORT STORY FROM HER NOTEWORTHY NEW BOOK 

FANCY ONION DIP, GOURMET BAKED BEANS & A SWEET-AS PUDDING: KELLY GIBNEY’S DELICIOUS TAKE ON KIWI COMFORT FOOD 

10 Magazine | Contents 

28 

OUR COVER 

THE SOUTH ISLAND LIFESTYLE MAGAZINE MARCH 2024 

THE 

SOUTH 

ISLAND 

LIFESTYLE 

MAGAZINE 

56 

Tim Nees’ freshly built beachy 

beauty sits on the hillside 

overlooking Taylors Mistake. 

Photo: David Straight 

Resene 

Jalapeno 

READ US ONLINE 

Resene 

Anchor 

ARTS & CULTURE 

62 In retrospect 

DPAG showcases the first major 

retrospective of Marilynn Webb’s work 

68 Hey dude 

Patricia Grace shares a short story 

from her new book 

72 Book club 

Great reads to please even the 

pickiest of bookworms 

TRAVEL 

52 High-country hospitality 

Swim, fish, fly and relax at historic 

Lake Heron Station 

BEAUTY 

26 About face 

The latest in beauty treats from super fast 

straighteners to bubblegum-scented soap 

REGULARS 

14 Newsfeed 

What’s up, in, chat-worthy, cool, 

covetable and compelling right now 

74 Win 

Cookbooks, subscriptions, 

lippies and skincare 

FIND US ON SOCIAL 

03magazine.co.nz | @03_magazine 

GET A COPY 

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charlotte@alliedpressmagazines.co.nz 

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12 Magazine | Newsfeed 

Newsfeed 

What’s up, in, chat-worthy, cool, covetable and compelling right now, 

specially compiled for those in the south. 

Kiss kiss 

Balancing the glamour of Gloria Vanderbilt and the 

irreverence of Gloria Steinem, this season Kate Sylvester has 

collaborated with natural beauty brand Aleph to create a very 

special Gloria cheek/lip tint ($58) – a perfect strong red with 

an unexpected hint of energetic orange that works with and 

brightens every skin tone. “Everyone who knows me knows 

I love red lipstick,” says Kate. “I wear it almost like armour 

when I need to step up to a challenge. Putting it on feels like a 

daily ritual where I can be ready to take on the day.” 

katesylvester.co.nz 

Signature serves 

Celebrated Central Otago distillery 

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vermouths ($72 each). Made almost entirely 

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Talk it up 

After a six-year hiatus, Aspiring Conversations is set to return, 

transforming Wānaka into a hub of intellectual exchange 

and cultural celebration. From April 4–7, the festival will host 

14 events across three venues, featuring a diverse line-up 

of 40 speakers and artists (including MasterChef NZ winner 

Sam Low, pictured), exploring themes ranging from culture 

and history to adventure, politics, personal challenges, climate 

change and a whole lot more besides. 

aspiringconversations.co.nz

Mixed Messages in 

the Current Market 

Whether it’s the newspaper, the 

television or online commentary, 

there’s currently plenty of optimism 

around the property market and – to 

be fair – it’s contagious. But the real 

question we need to ask ourselves is 

whether it’s true. 

Let’s face it, after the rollercoaster of the 

past four years, including the highest 

price increases ever seen post-Covid 

and a harsh correction in 2023, who 

doesn’t want to celebrate just a little? 

But I’m of a mind we need to take a 

pause and reflect. 

So, why don’t we dive in together, 

look at what’s happening locally and 

then decide what’s fact, fiction or even 

conjecture? Because it’s all there! 

Here’s what I’m currently seeing … 

Let’s start with listing numbers, which 

are up. 

As are auction numbers. Our own 

company currently has some 74 

auctions booked for the month ahead 

at the time of writing and this is creating 

significant buyer interest. 

Although the number of auctions 

reflects a strong push by people to be on 

the market in February, it’s by no means 

unusual. 

Who doesn’t dream at Christmas and 

through the New Year of changing 

direction, whether that means 

purchasing instead of renting, upsizing, 

downsizing or leaving the city? So, I’m 

not one for jumping to conclusions 

based on the current increase in 

available properties. It’s definitely 

seasonal and this summer momentum 

can often be seen ebbing in the autumn 

months of April and May. 

But here’s something not so customary 

of late: being pleasantly surprised by 

the number of those auctions brought 

forward (a term used when the owners 

receive an unconditional offer that 

brings everything forward from the 

scheduled auction date). 

It’s a sign that people don’t want to 

wait because they fear competition – 

and that happens when there are more 

buyers around. Only this week, out of a 

catalogue of 19 properties, we had four 

that were brought forward, and all had 

additional strong, competitive bidding. 

Tears, smiles and applause from those 

in the busy room followed. 

Attendances at open homes are also 

up, as are multiple offers, so these three 

elements are certainly supportive of a 

strengthening market which owners, 

realtors and the media are taking heart 

from. 

Now let’s look at what I’m currently 

hearing. 

Most of us have short memories and it’s 

easy to slide into a belief pattern that all 

is well and prices will jump back to those 

extraordinary figures we came to expect 

two years ago. For context, prices across 

New Zealand peaked in November 2021, 

then were seen to drop by almost 18% 

to bottom-out in May of last year. 

Since then, they have increased by 4% 

according to statistical data up until 

December of last year. 

So, it’s a cautious journey and although 

banks and others are sticking with low 

growth figures, there’s still room for 

optimism – though it needs to be mixed 

with realism too. 

Finally, what am I thinking? 

There is still a world of pain out there for 

many people. 

Increased interest rates are hurting and 

that’s across every demographic. Banks 

are proving extremely pedantic in what 

they expect of their clients. It means that 

some people are finding it too tough 

to hang on. Despite the promise of 

Brightline and tax deductibility changes, 

that includes recent landlords. And 

other vendors are preferring to downsize 

rather than struggle with hefty monthly 

mortgage payments. 

There’s also a belief that we are likely 

at the bottom of the market and good 

times are around the corner, in which 

case now is the time to buy. For the 

entrepreneurial amongst us, this is a 

signal to hunt hard for opportunities. 

It’s always a crystal-ball game and mine 

is a little cloudy at the moment, so I’d 

encourage anyone making a property 

decision to get good advice, keep 

your expectations intact and, if you’re 

selling, hope that you just might have a 

property that causes people to applaud 

your result. After all, this market might 

be exactly right for your circumstances 

and yours might be one of the good 

news stories that we’re starting to see. 

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 | STROWAN 351 0585 | GOLD PROPERTY MANAGEMENT 352 6454 | 

SPITFIRE SQUARE PROPERTY MANAGEMENT 027 772 1188 

GOLD REAL ESTATE GROUP LTD LICENSED AGENT REAA 2008 A MEMBER OF THE HARCOURTS GROUP 

www.harcourtsgold.co.nz


Strange fruit 

Those seeking fruit and veg with a difference – while making a 

difference – need look no further than Wonky Box, now in the 

South Island. The innovative startup works with local farmers to 

utilise their fabulous fresh product that doesn’t quite meet the visual 

mark, from crooked carrots to funky-looking feijoas, and deliver it 

straight to your door. Choose from a variety of box and delivery 

options then sit back and start cooking up delicious ways to make 

the most of all that weird and wonky goodness coming your way. 

wonkybox.nz 

Fringe benefits 

The first Dunedin Fringe Festival ignited Ōtepoti in 2000 – more 

than two decades on it’s now the second-largest Fringe festival 

in the country and an annual 11-day multidisciplinary arts festival 

featuring fresh, innovative and experimental visual and performance 

art and everything in between, supporting 80+ events staged by 

more than 500 artists and crew. This year the diverse, dynamic 

schedule of happenings runs from March 14 to 24, across the city. 

dunedinfringe.nz 

Wear your art on your sleeve 

To celebrate the exciting and generously 

donated offering to New Zealand that is 

the exhibition of modern art The Robertson 

Gift: Paths through Modernity, featuring works 

by Matisse, among others, local lifestyle 

brand SOPHIE has collaborated with 

Auckland Art Gallery Toi o Tāmaki to create 

a Matisse-inspired capsule collection. The 

petite edit features five different jewellery 

pieces including earrings, rings and pendant 

necklaces, plus a keychain and four pins, each 

inspired by the bold colours and popular 

cut‐outs from the famous French artist’s 

‘Four Rosettes’ work and his ‘Jazz’ series 

from the 1940s to 1950s. 

sophiestore.co.nz

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Speculative worlds 

A fascinating examination of the 

work, both imagined and realised, 

of late architect and professor Rewi 

Thompson, whose talent has profoundly 

influenced a generation of architects in 

Aotearoa, and now on at Christchurch’s 

excellent Objectspace satellite gallery, 

KOHA: The speculative worlds of Rewi 

Thompson was originally exhibited at 

Auckland’s Objectspace to coincide 

with the launch of a new publication by 

Jade Kake and Jeremy Hansen, Rewi: Āta 

haere, kia tere. KOHA runs in Ōtautahi 

until March 24. 

objectspace.org.nz 

On pointe 

The RNZB’s much-loved Tutus on Tour returns to theatres 

around the country this Feb/March to mark the end of summer 

and the start of a brand new year of ballet-going. Dance lovers 

of all ages can look forward to a programme that celebrates 

classical favourites and virtuoso ballet technique as well as 

offering a timely tribute to one of the RNZB’s founding fathers. 

As a prelude to 2024’s major revival, the tour will feature 

excerpts from Russell Kerr’s production of Swan Lake. 

rnzb.org.nz 

What a pearler 

Consciously crafted in high quality 100 percent 

recycled 925 sterling silver and showcasing natural 

freshwater pearls each with its own unique 

colourings and characteristics, the Camino collection 

is a covetable trio of delicate designs created by 

Zoe & Morgan in collaboration with Walker & Hall, 

with a pendant necklace and two styles of earrings, 

starting at $169. 

zoeandmorgan.com

稀攀戀爀愀渀漀


Art you can touch 

Now in its eighth year, the Zonta Ashburton Female Art Awards 

exhibition showcases the works of emerging and mid-career female 

artists based in Canterbury. This year, 35 finalists were selected 

for the Premier Award, awarded to Marie Porter (pictured) for 

her work ‘The Rocks’, which combines found rocks from Banks 

Peninsula with handmade rocks cast from bronze, clay, papier-mâché 

and other materials to create a collection that encourages viewers 

to touch. Showing at Ashburton Art Gallery until April 14. 

ashburtonartgallery.org.nz 

No-plastic fantastic 

The result of years of research and 

development (without compromising on 

design), beloved sustainable Kiwi fashion 

brand Kowtow has hit an incredible new 

milestone this month, with all garments 

released from February 2024 promising to 

be 100 percent plastic-free down to the 

tiniest detail, from latex elastic to organic 

cotton thread and buttons in nut or shell. 

These materials support the label’s product 

responsibility mission, with all pieces returned 

to Kowtow through their Take-Back 

programme becoming part of their circular 

clothing initiative. 

“There are two reasons why Kowtow was 

born, one was to ensure fashion could be 

made in a humane, ethical and kind way 

and the other to work with nature and not 

against it,” says founder Gosia Piatek. Mission 

complete, we’d say, and we’re here for it! 

kowtowclothing.com 

Ripe for the drinking (and eating) 

For those looking to sample the very best in bites, bevs and beats 

from the Wānaka region and beyond, Ripe Festival (March 23 at 

Glendhu Bay) is the ultimate opportunity to join world-class Central 

Otago wine and food producers and more for a big day out by 

the lake. Surrounded by breathtaking scenery, try one of the VIP 

experiences, take in a masterclass, rock out with headliners The 

Black Seeds or simply kick back, eat, drink and be merry. 

ripewanaka.nz

“Success in real estate is not just about transactions; 

it's about building lasting relationships, understanding 

unique needs, and delivering unparalleled service. 

Our team embodies these principles, going above and 

beyond to ensure every client's real estate journey is 

seamless and satisfying.” 

TEAM TOM & JAKE 

TOM RENNIE 

021 0838 3232 

trennie@cowdy.co.nz 

JACOB WIEBLITZ 

027 239 7176 

jwieblitz@cowdy.co.nz 

Licensed Agent REAA 2008


Off centre 

For two nights and one day across March 8–10, Ōtautahi’s 

The Arts Centre will be bursting with music, comedy, circus, 

theatre, food and vibrant entertainment. Off Centre is a solid 

mix of arts and entertainment for everyone, with familyfriendly 

and free events as well as ticketed performances. 

Don’t miss your chance to catch headliners 1 Drop Nation, 

Icelandic-Kiwi singer-songwriter Hera, Shay Horay presents 

Katakata Club comedy show featuring Dai Henwood 

(pictured), Prince Orlofsky’s Masquerade Ball with Toi Toi 

Opera and Sole with Jolt Dance. 

artscentre.org.nz 

Blue jean baby 

Denim fiends will be jumping for joy (in the latest iteration of 

the Aeronautical jumpsuit) at the latest collab between Karen 

Walker and Outland Denim. The seven-piece collection revisits 

quintessential KW silhouettes including the aforementioned 

jumpsuit, straight-leg, flared and ultra-flared jeans and a utilityinspired 

shirt, available in both dark indigo and washed hues. 

karenwalker.com 

Shop chic in the south 

Southland’s shopping options 

were elevated this month with the 

Invercargill opening of a “small but 

mighty’’ take on heritage department 

store Ballantynes. Ballantynes Select 

ranges a curated selection of fashion, 

accessories and gifting from its 

Christchurch flagship store including 

the best of local and international 

brands. “Our customers have 

been asking for a physical store in 

Southland for a while now, and it’s a 

special feeling to be able to answer 

that call,” says Ballys’ chief executive 

Maria O’Halloran. 

ballantynes.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. 

Our Tassel Boots (as worn by 

the HRH Duchess of 

Cambridge) encase the leg 

beautifully giving a sleek, leg 

lengthening and elegant 

silhouette. 

Available exclusively from 

Rangiora Equestrian Supplies, 

www.rangiorasaddlery.co.nz

22 Magazine | Wishlist 

Most wanted 

From molten metals and fun florals to splashes of the season’s most mood-enhancing hue 

(hot pink) and some seriously playful pieces, here’s what the 03 team are coveting this month. 

1 

2 

3 

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4 

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1. Byredo Liquid Lips Matte lipstick in Calmer, $93 at Mecca; 2. Papinelle x Karen Walker ’60s Floral silk pillow slip in Chocolate, $110; 

3. Amberjack Odd Candles x Superette Apple scented candle, $29; 4. David Shrigley Be Kind To Everyone tea towel, $44 at Dunedin Public Art Gallery; 

5. Deadly Ponies Mr Cinch Mini Pleated bag in Lotus, $649; 6. RUBY Kendall satin dress in Hot Pink, $329; 7. Tom Dixon Mill Small grinder, $260 at 

Ballantynes; 8. Tronque Fully Ripe Vitamin C body oil, $129; 9. Curate by Trelise Cooper Puff Piece coat, $379 at Zebrano; 10. Rewi by Jade Kake and Jeremy 

Hansen, Massey University Press, $75; 11. Cocktail glass in Rose, $23 at A&C Homestore; 12. La Tribe Double Strap shearling slippers in Truffle, $120; 

13. Jasmin Sparrow Paloma rhodium-plated necklace, $400; 14. Kathryn Wilson Mr Bigglesworth loafers in Black Suede, $319

Shop 5, 1027 Ferry Road, Christchurch 

Phone 03 928 1690 | @ilovewinkshoesnz 

ilovewink.co.nz

24 Magazine | Fashion 

Sail away 

From boat necks and cable knits to Breton stripes, lashings of navy and deck-ready 

denim in shades of deep blue indigo and sail-white – with some major SailGP 

fever happening this month in 03’s home base Christchurch, we’re inspired to put 

together a ‘nauticool’ wardrobe that nods to life on the ocean wave. 

2 

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8 

1. Essie nail polish in Naughty Nautical, $19 at Mecca; 2. RUBY embroidered cap in Navy, $69; 3. Maggie Marilyn Grows You to the Clouds 

jacket, $595; 4. Meadowlark Nell Shell 23K gold plated studs, $199; 5. Karen Walker Sessile halter top, $350, and Levi’s Baggy Dad jeans in 

Serenity Now, $190 at Playpark; 6. Storm corduroy flares in Blue, $249; 7. Dubarry Cannes boat shoes in Tan, $400 at Rangiora Equestrian; 

8. Boh Runga Pearly Shell sterling silver and zirconia studs, $199; 9. Kowtow Boat Neck dress in Navy, $189; 10. Shjark Olsen t-shirt, $199, 

and Dryden denim pants, $389; 11. Kester Black nail polish in Aquarius, $30; 12. Moochi Espy slides, $330; 13. Kate Sylvester Cooper denim 

coat in Indigo, $899; 14. Mela Purdie Wave blouse, $429 at Zebrano; 15. Karen Walker Filigree Anchor sterling silver studs, $189; 

16. Juliette Hogan Cable Crew sweater in Ink, $499

NEW COLLECTION IN STORE NOW 

THE CROSSING, CHRISTCHURCH

26 Magazine | Beauty 

About face 

From super speedy straighteners and bubblegum-scented rabbit-shaped soaps to 

cult celebrity-stamped faves, here’s what the 03 team are testing this month. 

1. Model mouth 

Cult celeb-endorsed product 

alert! Co-created with Kendall 

Jenner, MOON’s Oral Beauty 

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1 

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2 

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3 

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03magazine.co.nz | @03_magazine

Life’s a beach 

Tucked into lush greenery on the side of the hill overlooking Taylors 

Mistake, owner/architect Tim Nees’ freshly complete home sits 

companionably among the more rough-and-ready (but charmingly 

retro) baches the small beachside community is famous for. 

WORDS & INTERVIEW JOSIE STEENHART | PHOTOS DAVID STRAIGHT

Feature | Magazine 29 

The construction dust was barely settled and the paint just dry when 

architect Tim Nees’ newly built and self-designed home took out two 

top nods at the prestigious New Zealand Institute of Architects, netting 

the clean-lined, striking build both a Canterbury Architecture Award and a 

coveted Resene Colour Award. 

“Clearly the home of an architect who cares how every part of their 

building looks and feels, Taylors Mistake House is an exercise in attentionto-detail 

that is so thorough it is intrinsic, with no component unresolved,” 

reads the judges’ citation. 

“Examples of this are everywhere, from the beautifully resolved structure 

holding up the house to the sculptural downpipes. Planning has been so 

thoroughly resolved inside that the house only needs a single internal door. 

Building placement on the hillside site is cleverly handled so the built forms 

create an amazingly calm courtyard, carefully landscaped to give a relaxed, 

modern feel.” 

Regarding the luxuriously laid-back and understated yet somehow also 

bright and bold colour palette, judges noted “the stark white exterior is like 

an eggshell: once inside the colour changes to warm, natural, yellow ochre 

shades of the beach and nature, making you feel comfortable and at home”. 

Tim, who now runs his practice, New Work Studio, out of the Taylors 

Mistake site, says inspiration for the rather brilliant seaside abode came 

from multiple sources, from working adjacent to Kiwi architectural legends 

Miles Warren and Ian Athfield to the Christchurch Botanic Gardens and 

the work of Italian still-life painter Giorgio Morandi – and not least the 

humble heritage dwellings dotted below.


Tim, tell us a little about where the house is located? 

Te Onepoto Taylors Mistake, on the hill overlooking the beach and 

the bay, and the Godley Head Peninsula. Five minutes down the 

coastal walkway to the beach. 

Do you have any personal history/connection to the area? How 

are you finding living/working from there now? 

I didn’t have any personal connection with Taylors beforehand, 

though I had heard of it and of course was intrigued by the name. 

It’s a privilege to live and work here, it is an amazing environment. 

But occasionally you just have to go get a dose of the city. 

How has the location influenced the design? 

Immensely. Location is always a driver for my designs. Here, the 

coastal location led to a more relaxed feel, a seaside home, with 

robust materials and detailing. 

And conceptually, aspects of the design contain references to 

the local baches. The row of baches/cribs at Taylors Mistake beach 

is pretty well known, but there are also some baches (red-zoned) 

set into the cliffs at Hobsons Bay, immediately to the northwest of 

Taylors and a short walk away directly below our property. 

Two of these feature an upper storey with really interesting 

proportions. It’s these small buildings I had in mind when designing 

the proportions and fenestration of our small tower, as well as the 

timber cladding. 

I consider it important to reference existing built forms in the 

locale of most projects, if possible.

What were some other considerations/inspirations that 

influenced the design? 

Creating a home to suit the way [partner] Lesley and I live, 

a mix of simple and sophisticated – we’re an ‘older’ couple 

with adult children so there is only one real bedroom – 

ours – but plenty of different living spaces and alcoves 

and daybeds where grandchildren or others can stay. The 

formal/informal mix is also present in the composition and 

forms of the house, but clad in a more casual rainscreen 

that conceals the real cladding and flashings, and has a level 

of ambiguity regarding its materiality. 

And of course views, sun, creating a northern courtyard, 

elevating the bulk of the house off the ground, making the 

most of the site through the placement and articulation of 

design ideas. 

How was it being the client? 

I’ve been my own client before, but not with Lesley. 

From a design point of view it was a marvellous 

collaboration. From a construction point of view, there 

were many nail‐biting moments. 

Your palette has had a big impact, both inside and out 

(and won you a Resene Colour Award to boot) – who 

made these choices and what was behind them? 

I made suggestions, together we made choices, which is 

how I always work with my clients. 

But Lesley found the site, she was the one that set the 

ball rolling. 

A guide to the atmosphere and colour was the paintings 

of Giorgio Morandi, famous for his tabletop still lifes in 

muted colours. 

The four elements of the house we likened to the 

objects in Morandi’s paintings arranged along a shelf 

(the site), and we borrowed the few interior colours from 

his palette. 

What were some of the challenges, between bare land 

and finished building? 

Weather – the build started in cyclone season; time – the 

consent is dated 2016 and we’ve only recently achieved 

completion; and being closely involved in the build and 

fit‐out while juggling other priorities.


“The stark white exterior is like an eggshell: once inside the colour changes to 

warm, natural, yellow ochre shades of the beach and nature, making you feel 

comfortable and at home.” 

What are some of the key materials, and why did you 

choose them? 

I’ve described some of the materiality above. Steel support 

structure, timber framing, macrocarpa posts and beams, 

painted particle board floor; plywood linings; painted 

timber rainscreen and trims; concrete block retaining and 

landscape walls. 

Chosen for both suitability/robustness and appearance, 

and cost, and how they could best create the specific 

details that make the building and the atmosphere that is 

within the building. 

Some favourite features/details? 

We both love the way it all fits together and supports our 

particular lifestyle. 

We love the garden courtyard – perennial planting 

inspired by the Botanic Gardens’ ‘Herbaceous Border’. 

The living spaces and the interior birch ply joinery. The 

stairs in the tower. 

I am very happy with the elimination of rainwater heads 

by taking a scupper through the parapet directly into the 

back of an oversized downpipe. 

The cleanness of the forms – there are four distinct 

elements – and the way they are detailed was very 

important to me. 

Christchurch has a strong architectural history, did you 

draw on this here? 

Not really. I wanted to create a really good piece of 

architecture that respects that history but doesn’t recreate 

it. There are local vernacular references as discussed above. 

My formative experience after university was working 

with Ian Athfield. Perhaps his collection of white objects 

on Wellington’s hillside is deep inside my white boxes. 

And perhaps my exposure to Miles Warren’s awesome 

detailing when I had my office at 65 Cambridge Terrace 

– I believe you have to create really well resolved and 

beautiful details to make a building feel alive.

34 Magazine | Feature 

Frock stars 

Two Kiwi icons in their fields have come together 

for one of the coolest and most glamorous 

collaborations to hit the stage in Aotearoa. 

INTERVIEW JOSIE STEENHART 

“We met at a wedding in 2017 where Julia was performing, 

and I was, frankly, starstruck from the beginning” says Tanya 

Carlson, one of Dunedin’s most loved fashion designers, of her 

first meeting with local rock royalty Julia Deans. 

“The bride had said she thought we’d get along well and she 

was right. Later in the evening, there was a kind of karaokestyle 

thing going on and I remember hearing this voice singing 

‘Heart of Glass’, and went in to see who it was and saw this 

beautiful songbird… 

“I ended up fangirling her big time and said if she ever 

needed any garments or costumes made, I could help,” says 

the acclaimed designer, who grew up on the Otago Peninsula 

and launched her eponymous label in 1997. 

“Tanya had designed one of the bride’s dresses,” recalls Julia, 

formerly lead singer for Fur Patrol, now a renowned solo artist. 

“I was telling her about this Bowie tribute show I had 

coming up and she asked what I was planning on wearing – at 

which point I still had no idea. 

“She then asked what I would like to wear and I said ‘a 

sequined jumpsuit’, to which she responded, ‘let me make it 

for you’. 

“She ended up concocting this incredible one-piece in navy 

blue body-contouring sequin stripes, with pointed cap sleeves 

and cropped wide legs – an homage to Bowie’s visionary 

designer Kansai Yamamoto,” Julia explains. 

“There were a lot of broken needles but it was worth 

it!” laughs the designer, who says since then the number of 

Tanya Carlson pieces Deans has worn is “countless” (“LOTS!” 

concurs Deans). 

“I’ve been dressing her since we met – a lot of custom-made 

pieces – and she’s worn a lot of garments from our archive 

collection as well. She’s a dream to work with and has become 

a really close friend, so we have a great time working together.” 

“Any time Julia has performed at Liberty Stage Presents I’ve 

done a custom piece,” says Tanya. 

“We’ve taken inspiration from the musical theme of the 

artists or era she’s performing and worked with that. 

“Most recently, for her performance at Atomic (a touring 

supergroup of Kiwi female artists celebrating the work of ‘the 

pioneering women of rock’) I took inspiration from Debbie 

Harry’s iconic one-shoulder asymmetric dress designed by 

Stephen Sprouse and made her this amazing dress in a black 

rhinestone velvet.” 

Photo: Johannes van Kan

“For most of my career I’ve performed in variations on the theme of 

jeans‐and-singlet, but collaborating with Tanya has boosted me out 

of that zone without sacrificing comfort and movement.”


Photo: Reef Reid, Radar Photography 

A second piece for Atomic, which Julia describes as “a 

dusty-pink lurex boilersuit with a double row of snaps down 

the front and a little open back vent”, is perhaps the singer’s 

favourite Tanya Carlson creation to date. 

“I think she needs to put this one into production, 

just quietly.” 

She also speaks fondly of a gold silk lamé shirt that Tanya 

concocted for the tour for her last album. 

“This has had regular outings on stage because the light 

loves it, most recently with a pair of black velvet hotpants. 

As one of the short-legged variety of humans, I swear I’ve 

never thought I would actually ever wear hotpants, but hey, 

that’s what you can do when someone pays attention to 

your proportions!” 

Tanya says she loves the whole process of designing for Julia. 

“Looking at the era, the band or the singer and then 

interpreting that for her. Not a direct copy but taking 

inspiration from that period of time, it’s a ‘feel’. And it’s a 

strong collaboration every time.” 

And while the custom creations are incredibly special (“a 

treat beyond compare”), Julia also talks passionately about 

“raiding” Tanya’s existing archive. 

“She has the most incredible trove of garments from past 

collections and one-off pieces throughout her career (some 

of which are actually available for hire via her black tie rental 

service). They range from casual through to couture ball 

gowns… Seriously, it’s like walking into Narnia. 

“I frequently forget to organise things until the last couple 

of days, which is when I’ll call in for a fossick. But either Tanya 

has learned this and regularly prods me for upcoming outfit 

needs, or she genuinely gets excited about conjuring up a new 

costume. I suspect it’s a mix of both.” 

Tanya describes Julia’s style as “quite eclectic”. 

“It ranges from really rock’n’roll to whimsical, and she 

also likes a modern silhouette.” 

Julia in turn laughingly says her aesthetic is “mooddependent”. 

“I definitely wear a lot of black, but Tanya has been good at 

challenging this habit. 

“I tend to like simple designs and classic cuts, things that are 

comfortable and practical for slinging a guitar around and that 

I can breathe in for singing, both on- and off-stage.” 

And Tanya is clearly well versed that dressing a performer 

means factoring in a lot more than just looking fabulous 

(“we do have a lot of fun with red carpet events as well 

though!”, she says).


“I’m very aware of what her performance is going 

to be and how the light will reflect the fabric, and 

how that movement in the garment adds to the 

performance, never to distract from it. 

“It’s also about understanding how energetic the 

performance is going to be, how quick the changes 

are going to be. 

“In the earlier days, I might need to build in places 

into the garment for the microphone pack to be 

hidden. I also need to think about the choice of 

fabric, it needs to be quite robust.” 

The overall goal, says Tanya, is for Julia to have 

confidence in what she’s wearing. 

“It’s something she doesn’t have to worry about, 

it’s taken care of.” 

And if Julia’s lavish praise for the Dunedin designer 

is anything to go by, goal achieved. 

“Tanya knows what she’s doing when it comes to 

flattering the female figure. Her cuts are impeccable 

off the rack, but if you have the luxury of having her 

fit something to you, it changes the way you think 

about how clothing can make you feel and look. I 

highly recommend it. 

“Something I’m particularly grateful for is how 

she’s elevated my stage dressing. For most of my 

career I’ve performed in variations on the theme of 

jeans-and-singlet, but collaborating with Tanya has 

boosted me out of that zone without sacrificing 

comfort and movement. 

“And, of course, she’s great company – 

compassionate, energetic, and funny as f*ck. 

Our friends’ marriage may not have lasted, but 

our friendship has positively bloomed!” 

See Julia Deans in conversation with 

Chancing It on April 5 and Tower of Song 

on 7 April 7, both at Lake Wānaka Centre 

as part of Aspiring Conversations. 

RIGHT: Photo: Bruce Mackay


A bite of the south 

From Fiordland wapiti to Central Otago 

truffles and lamb, the South Island’s diverse 

environment and the food it produces is 

showcased in chef Ben Bayly’s latest television 

series of A New Zealand Food Story. 

WORDS REBECCA FOX 

S 

itting on the shores of Lake Wānaka, top Kiwi chefs 

Ben Bayly and Dariush Lolaiy cook up a piece of 

Fiordland wapiti. 

The meat has been dressed with a little olive oil and some 

salt and pepper and thrown in a pan over open flames. 

For Dariush, co-owner of Auckland restaurant Cazador 

and a renowned wild food chef, it doesn’t get more perfect. 

“It’s cooking the way I’m most comfortable with, over an 

open fire in the bush and to share that with him, right there, 

was an awesome experience.” 

The simplicity of it all was also a revelation for Ben, who 

was there to tell the story of Dariush’s latest endeavour 

in the current series of his television programme A New 

Zealand Food Story with Ben Bayly. 

Dariush’s latest project is to help rescue wapiti (a type 

of elk named by Native Americans) which would otherwise 

go to waste as part of deer management in Fiordland 

National Park, and provide a way for the meat to be 

used as a food source. 

It began three years ago when Dariush, whose restaurant 

has always had venison on the menu, was approached by a 

long-time supplier to see if he would like some wapiti (which 

were introduced to New Zealand from the United States in 

1905). When he found out there was a potential source of 

hundreds of animals, he got on the phone. 

He brought together a group of like-minded people 

– including chefs Tom Hishon (Orphans Kitchen, Daily 

Bread and Kingi) and Nick Loosley (charity Everybody Eats, 

The Gables and Hone’s Garden) with wild food supplier 

Scott McNeil (Awatoru Wildfood) and Donald Shepherd, 

co‐founder of food waste business Citizen – to form 

WithWild, a company selling wapiti to restaurants and soon 

to the public in Auckland. 

“It’s a unique group of people.”

Chefs Dariush Lolaiy and Ben Bayly at Lake Te Anau during 

filming of A New Zealand Food Story. Photo: Makoto Takaoka


An important part of the business is that part of the proceeds go back into 

the conservation efforts of the Fiordland Wapiti Foundation, which manages 

the wapiti herd in Fiordland on behalf of the Department of Conservation. It 

enables a low-density herd to remain for hunting purposes through culling, but 

also helps protect the birdlife and habitat of the area with pest trapping and 

wildlife monitoring. 

However, due to the expense of removing the wapiti, after culling the 

carcasses were left on the hill, something that did not sit well with the 

foundation or hunters. 

For Dariush and his team, the potential to come up with a sustainable 

solution to the problem was too good to pass up, even if the logistics of 

retrieving the wapiti from such a remote area was a challenge. 

“We primarily produce wapiti meat and it sells itself. Anyone who tries it is 

blown away. I can’t think of another protein that is as unadulterated as this 

– it’s the most New Zealand meat there is.” 

Also important was the chance to be actively involved in conservation of one 

of New Zealand’s most important national parks. Results from the conservation 

work since they joined with the foundation have been really positive, he says. 

“It’s amazing to be able … to invest back into the New Zealand food industry 

in a direct way which supports the growers, whether meat or vegetables, the 

people who are preserving New Zealand’s environment. In a little way it’s a 

more direct line to conservation for us.” 

Ben, who owns Auckland restaurant Ahi and Arrowtown’s Aosta and Little 

Aosta, is a huge fan of deer in any form and often cooks it at home for 

his family. 

“It’s one of the healthiest food sources a human can eat.” 

Featuring the wapiti story alongside that of Black Quail Truffles, owned by 

Rod and Mirani Keillor of Dunedin, and Provenance Meat’s story of regenerative 

sheep farming on Shortlands Station in the Maniototo highlighted the diversity 

of the southern South Island, something he has always been blown away by. 

A dish from Cazador 

utilising WithWild wapiti. 

Photo: Emily Raftery


“The juxtaposition is phenomenal, geographically and weather-wise, and as a 

result it produces some of the best food in New Zealand and certainly the best 

vino. I didn’t realise that until we took over Aosta.” 

He uses Provenance lamb in his restaurants and is always ready to help out 

suppliers looking to reduce waste and try new products. 

“We like to do things others are not doing.” 

The new series has really highlighted to him how difficult growers of all varieties 

of food are finding it in the current environment. And it has made him even more 

determined to tell their stories well, as he is a big believer that if regional New 

Zealand told its food story better it could command higher prices for its products. 

“What’s made in Central Otago excites me. It’s so diverse – every day is different.” 

His show has been aired in Australia, France, Norway and the Middle East and 

is also available on international Air New Zealand, United Airlines, Lufthansa and 

Air Canada flights, providing international coverage for the producers. 

“It gives a world stage to producers and heroes the best ingredients. If we tell our 

story better, if we’re loud and proud, then we can command a better rate for it.” 

“What’s made in 

Central Otago excites 

me. It’s so diverse – 

every day is different.” 

Fiordland wapiti on the 

menu at Ben Bayly’s Ahi. 

Photo: Tez Mercer

Gardens | Magazine 43 

The slow flower movement 

The third in a series of extracts from gorgeous new gardening tome 

Secret Gardens of Aotearoa takes us to Nicky Paul’s blossoming property 

in North Canterbury. 

Nicky’s greenhouse is bursting at the seams 

with seedlings. Nigella, snapdragons and 

Queen Anne’s lace are among the flowers 

that crane newly sprouted necks towards 

the windows. 

They are destined for one of the 21 flower 

beds that line Nicky’s rural Okuku property in 

North Canterbury. 

Birch Hill Flower Farm is easy to miss from 

the road – tucked in among sheep and beef 

farms. Yet turn down the drive and you are 

greeted by a painter’s palette of flowers, 

featuring blooms of every hue. 

It takes a bird’s eye view to fully appreciate 

the 2000 square metres (half an acre) of 

15-metre-long flower beds, all planted by 

Nicky. And she grows almost everything from 

seed, other than tubers and bulbs. 

In a world where flowers are often mass 

produced, sprayed with synthetic pesticides and 

flown thousands of kilometres across the globe, 

Nicky prefers to live life in the slow lane. 

Her kaupapa is cut flowers that are lovingly 

hand-grown in season, using organic principles 

where possible. Her happy blooms are supplied 

to florists, incorporated into bouquets she 

creates for her roadside stall, cut for her floral 

workshops and used in wedding arrangements. 

Flower farming is not a bed of roses – there’s 

a huge amount of work involved at every stage. 

Improving soil health has been a big challenge 

over the past three years, and Nicky also holds 

down a full-time day job. Yet hands in the soil, 

tending to her 40-plus varieties of flowers, is 

her happy place. She can’t imagine herself doing 

anything else. 

ABOUT THE GARDEN 

Nicky’s flower farm is a 15-minute drive from 

Rangiora, en route to Ashley Gorge. The house 

on Birch Hill Farm was built in 1995. 

When they arrived, there were established 

trees around the house and in the garden, and 

under them were some massively overgrown 

hebes. Nicky pulled these out and under planted 

the trees with hostas, little box hedges and 

shade-loving perennials, experimenting with 

different textures such as Japanese forest grass, 

trillium and maples. 

The biggest job, requiring arduous effort, 

has been to remediate the soil on the former 

riverbed. An enormous number of rocks and 

stones have been removed, and vast quantities 

of mushroom compost brought in. 

In her first season she planted the original 

6 x 10-metre beds with a selection of heirloom 

varieties including dahlias, zinnias, snapdragons, 

bells of Ireland, mignonette, straw flowers 

and amaranthus. 

That year she grew the seedlings inside on 

her windowsills, splashing out on a 3 x 3-metre 

greenhouse in her second season. Three tiers 

of shelves were crammed full with seedlings 

from June until her last planting in January. 

That year she got to work digging 16 

beds 15 metres long, to accommodate all 

the seedlings. 

As demand from florists grew, so did Nicky’s 

ambition, and a second greenhouse, double the 

size of the first, was built in 2022. 

Everything she grows needs to have a good 

vase life, and also needs to be ‘on trend’– what 

florists are looking for. Nostalgia is a huge

44 Magazine | Gardens 

factor in the current popularity of the heritage varieties, and Nicky enjoys the 

magic of the way a single bloom can reignite memories from childhood, or 

transport someone back to their grandmother’s garden. 

Against a backdrop of climate change and the contribution that toxic 

chemicals make to the problem, Nicky is an avid promoter of the ‘slow 

flower’ movement. 

She uses no commercial sprays and all her flowers are seasonally grown. She 

applies mushroom compost in spring and autumn, in the belief that healthy soil 

creates healthy plants in a healthy environment. 

Initially she adopted the chop ’n’ drop method, chopping up spent stems 

and foliage and spreading them as mulch around the farm, to be incorporated 

naturally back into the soil. However, experience taught her that this organic 

material could become a breeding ground for diseases before it broke down 

sufficiently, so these days all her green waste is composted – she grew 

pumpkins in the compost pile this year. 

Around the pond beside the flower beds Nicky has planted 18 willow trees, 

the goal being to harvest the branches for basket and wreath making, both of 

which she teaches in workshops. 

Near them is a newly planted shelterbelt of ninebark, Acacia baileyana 

‘Purpurea’, eucalyptus and birch. She loves the look of the white papery bark of 

the birch set against the blue-purple tinge of the acacia. 

A small weatherboard studio has been built at the edge of the site, 

overlooking the flower garden. Nicky is a keen painter (when she can find 

the time) and her dream is to be able to paint botanical works in her studio 

through winter. 

Over the coming year she plans to put in some raised beds to grow 

shoulder-season varieties such as heirloom chrysanthemums. 

To ease the workload, Nicky has employed a friend to help her pick one 

day a week. She can now enjoy the work of cutting and harvesting rather than 

worrying the whole time about the sun dipping out of sight before she 

is finished. 

Students from the local floristry schools in Christchurch and Lincoln 

University have also come on board as interns and for work experience. 

Nicky appreciates the help, and the knowledge trade has been invaluable for 

both parties. 

Nicky says her next focus is to get smarter about how she operates – 

flipping beds and using them all the time instead of letting them sit idle. 

Her goal is to utilise every piece of dirt to its full capacity, to be as productive 

as possible on her small plot. 

She plans to build up an English-style long border display garden, and 

eventually to offer the property as a wedding venue. Portuguese laurels are 

already growing and beginning to set the scene. 

Her advice to anyone thinking of heading down this path is just do it, but 

start small. 

“The more I do, the more capable I feel. I pride myself on the quality of my 

flowers, and it’s just such good therapy having your hands in the dirt. Nurturing 

baby plants and seeing them come to fruition, seeing the joy they bring people; 

I’m in love with the whole process.” 

NOTES FROM NICKY 

Growing from seed 

I germinate my seeds in three ways: 

1. In cell trays in the greenhouse. 

2. In plastic milk bottles (see over the page). This is a great method for 

hardy annual seeds. 

3. Direct in the field. Some plants, such as bells of Ireland, larkspur and 

orlaya white lace, can be more successful if direct sown, though I 

often sow these in cell trays so I can maintain control over spacing.

Gardens | Magazine 45

46 Magazine | Gardens 

Hardy annuals 

I germinate hardy annual seeds in late winter so they can 

be planted out in the field in early spring, before the last 

frost. They are not only tolerant of the cold but thrive in 

cooler temperatures. Examples are snapdragons, annual 

scabiosa, bells of Ireland, larkspur, Queen Anne’s lace, 

sweet peas, corncockle. 

Heat-loving annuals 

These plants love the heat of summer but don’t tolerate frost, 

so I germinate them a bit later and plant out in the field after 

the threat of frost has passed. Try zinnias, amaranthus, annual 

aster, celosia, sunflowers, cosmos. 

Germinating hardy annuals in milk bottles 

● Halfway down a 2-litre milk bottle, make a 

horizontal cut around three sides, leaving enough 

uncut so that it forms a ‘hinge’. 

● Poke holes in the bottom of the bottle for drainage, 

and a few in the top part for air flow. 

● Fill the bottom of the bottle with about 10 

centimetres damp seed-raising mix. 

● Plant the seeds as directed on the packet. A good 

rule of thumb is to sow at a depth twice the size 

of the seed. You can plant them fairly densely, as 

you’ll be dividing them up to transplant in spring. 

● Spray the surface with water so the top layer is 

quite damp. 

● Label a stick and poke it into the soil – it’s less likely 

to fade than if you write the name on the bottle. 

● 

● 

● 

Put the lid on and duct-tape the bottle closed all the 

way around. Place it outside and let Mother Nature 

do the rest. 

You can leave the plastic cap on until the seeds 

germinate. This will keep the moisture in and 

hasten germination. 

Once the seeds germinate, remove the cap to allow 

rain to get in and air to circulate. 

The Chelsea chop 

The term comes from the UK, because growers do it in 

preparation for the annual Chelsea Flower Show in May. 

It involves cutting back your perennials by a half to a third to 

extend their flowering, and in New Zealand it is done in late 

spring or early summer. 

Flowers such as mignonette will rebloom after a good 

cut‐back; others will simply flower better and for longer. 

Phlox, aster and sedum will not grow so leggy if cut back 

prior to their first flush. 

Examples of other summer- and autumn-flowering 

perennials that respond to this pruning method are 

penstemon, goldenrod, yarrow, campanula and rudbeckia. 

Extracted from Secret Gardens of 

Aotearoa by Jane Mahoney & Sophie 

Bannan, photography by Jane Mahoney, 

Josephine Meachen & Sophie Bannan, 

published by Allen & Unwin NZ, 

RRP$50.

EXTERNAL AFFAIRS 

with Tim Goom 

EMBRACE AUTUMN’S PALETTE 

Revitalize your garden and 

entertaining spaces with 

Goom Landscapes 

The spectacular 

Nyssa Sylvatica 

turns from green to 

orange, to red before 

losing its leaves. 

by Goom 

As the warmth of summer gives way to the crisp air of autumn, 

nature adorns itself in a spectacular display of fiery reds, golden 

yellows, and rich oranges. It’s the perfect time to transition 

your outdoor spaces to match the season’s splendour. Goom 

Landscapes is here to guide you through the process of preparing 

your garden and entertainment areas for the cooler months ahead. 

A Symphony of Colours 

Autumn is the season of change, and what better way to embrace 

it than by introducing pops of colour to your garden? The friendly 

team at The Little Big Tree have a fabulous range of Autumn colour, 

consider the spectacular Nyssa Sylvatica which turns from green to 

brilliant orange – red in autumn before losing its leaves. For smaller 

pops, Cornus Alba Sibirica offers bright red branches, and by adding 

hardy ornamental grasses and evergreen shrubs to your garden will 

provide structure and colour that endures beyond the season. 

Prepping Your Plant Beds 

Your plant beds may have flourished in the summer sun, but autumn 

requires a different approach to maintain their beauty. Begin by 

removing any dead or dying annuals, and trim back perennials that 

have finished blooming. This not only tidies up your garden but also 

promotes healthier growth next year. Enrich your soil with a layer of 

compost or well-rotted manure to replenish nutrients lost during the 

growing season. Mulching is essential in autumn; it insulates plant 

roots from temperature fluctuations and retains moisture in the soil. 

Lawn Care for a Lush Spring 

A lush, green lawn is the canvas for your autumn garden 

masterpiece. Autumn lawn care sets the stage for robust growth 

once spring arrives. Rake up fallen leaves regularly to prevent them 

from forming a wet blanket that can smother your grass and foster 

disease. Aerate your lawn to alleviate compaction and allow water, 

air, and nutrients to reach the roots. Overseeding with a suitable 

grass mix can fill in bare spots and create a denser turf that resists 

weeds. 

Outdoor Entertaining Reinvented 

As the evenings draw in, transform your entertaining area into a cozy 

autumnal retreat. Swap out light summer textiles for thicker, warmer 

fabrics in deep, rich tones. Add an array of soft throw blankets and 

plush cushions to your outdoor seating for comfort during those 

cooler nights. With shorter days, lighting becomes key in creating 

ambiance. String lights, lanterns, and candles can cast a warm glow 

that invites intimate gatherings. 

Extend the use of your outdoor space with a heat source that adds 

both warmth and atmosphere. Fire pits, chimineas, or patio heaters 

are perfect for gathering around and roasting marshmallows or 

simply enjoying the serenity of your autumn garden. 

Goom Landscapes: Your Autumn Ally 

At Goom Landscapes, we understand the importance of evolving 

your outdoor spaces to reflect the season’s changes. Our team 

of expert Landscape Architects and the construction team are 

passionate about creating gardens that are not only visually stunning 

but also functional and inviting. We’re here to assist you every step 

of the way, from selecting the right plants and lawn care techniques 

to designing the perfect autumn entertainment area. 

Prepare to fall in love with your garden all over again. Contact 

Goom Landscapes today and let us help you welcome autumn with 

open arms and an outdoor space that’s ready for memory-making 

moments. 

The champions 

of landscape 

design and build. 

7 AWARDS – 2023 

DESIGN | MANAGE | CONSTRUCT 

Create a Lifespace with us. | goom.nz 

IDEATION-GOM0181

SLOW 

INTERIORS 

Whether as a response to Covid 

chaos and the uncertainties of life 

in lockdown or just our increasingly 

fast-paced lives, the latest trends in 

interiors lean into stylish ways to slow 

down, chill out or cheer up. 

Resene 

Sun 

Off-white neutrals are easier to be around than 

stark whites, which can create glare. In this 

cosy and inviting space, the Resene Rice Cake 

walls seem to take on some of the pink tones 

of the sofa and rug under the glow of warm and 

diffused lighting. Walls painted in Resene Rice 

Cake, floor in Resene Eighth Thorndon Cream 

and artwork in Resene Sandtex Mediterranean 

effect in Resene Rice Cake. Sofa, ottoman and 

rug from Ligne Roset, side table from Good 

Form, books, candle, cup and saucer from 

Father Rabbit. 

PRESS PAUSE 

Life in our increasingly complex world has 

never felt busier, and it’s become essential 

to make space in our homes where we can 

wind down, take a load off and reduce stress. 

When channelling the easy, breezy energy 

needed to create a sanctuary or ‘slow 

space’ where you can shelter from the 

compounding chaos of everyday life, nothing 

beats airy looks created with light and 

ethereal Resene colours. 

From calming and comforting hues like 

Resene Lemon Grass and Resene Timeless 

to soft and reassuring neutrals like Resene 

Thorndon Cream and Resene Greige, the 

colour choices you decorate with play a huge 

role in making your home feel like a haven. 

In spaces where rest and recuperation are 

needed, gentle colours like dusted blues, 

cloudy greys, blush beiges, petal pinks, 

mushroom mauves and washed timber 

tones like Resene Casper, Resene Credence, 

Resene Double Blanc, Resene Soothe, 

Resene Kinship and Resene Colorwood 

Breathe Easy are other unbeatable 

options for building a vibe that fosters 

peace and quiet. 

Perpetually popular and endlessly 

remixable, these Resene hues can be used 

across walls, flooring, ceilings, trims, furniture, 

artwork and décor for a truly customisable 

space that soothes your soul.

RECOGNISING WHAT RESONATES 

The journey to creating your ideal ‘slow space’ starts with 

looking inward. Before you embark on your redecorating 

project, take some time to think about what’s really 

important to you and those you share your home with. 

Do you need an area to stretch your muscles to feel 

your best in the morning? Does curling up in a cosy chair 

with a book or magazine recharge your batteries? Would 

having a dedicated space to paint or practise a musical 

instrument remind you to take some time each day to 

be creative? Or would a spa-like bathroom help you to 

prioritise self-care? 

Once you’ve identified the needs you want your ‘slow 

space’ to fulfil, focus on which colours and materials will 

support this goal. While there are certain colours that 

have been shown to make us feel more at ease when 

we’re surrounded by them, the right colour for making 

your home into a sanctuary is highly personal. 

If it helps to organise your thoughts, create an 

inspirational mood board or folder with images, keywords 

and Resene colour swatches that you can refer back to 

throughout your decorating journey to keep your project 

and dreams in alignment. 

Resene 

Cupid 

GROUNDED IN NATURE 

Interiors inspired by nature have always been popular. 

However, earthy looks became even more desirable 

in recent years as a result of the pandemic. Many 

homeowners who had previously chosen to decorate with 

stark minimalist schemes found these spaces difficult and 

cold to live in once forced to spend extended periods of 

time stuck inside. Now they’ve turned to down-to-earth 

looks focused on Resene hues pulled from their natural 

surroundings. 

If your home is tucked into bushy woodlands, look to 

colours like Resene Welcome, Resene Saratoga or Resene 

Forest Green. If your space sits among the mountains, 

consider mossy greens or stone greys like Resene Bitter 

and Resene Cement. And if you look upon tussockcovered 

hills, try Resene Tussock, Resene Apache and 

Resene Hot Toddy. 

Resene 

Baked Earth 

Use a prized artwork or family heirloom as the inspiration for 

your Resene colour scheme to bring an elegant and unified look 

to the space it’s displayed in. Left wall painted in Resene Twilight, 

return walls (right) in Resene Zibibbo and floor finished in Resene 

Colorwood Breathe Easy. Bed from Good Form, bedlinen from 

Foxtrot Home, cushions from Città and Father Rabbit, artwork 

from Flotsam and Jetsam and endemicworld, rug from Baya, vases 

and stool from Smith & Caughey’s. 

HAPPY HUES 

Dopamine decorating, another trend that arose as a result 

of the pandemic, is focused on leveraging colours that 

have a proven positive psychological effect to lend your 

home a sunnier disposition. Pink, red, orange and yellow 

are considered by many to be positive colours, but what 

makes you feel happy at home differs from person to 

person. Focus on surrounding yourself with Resene paint 

colours, furniture, art and objects that make you happy. 

Think about what you want to wake up to in the morning 

and return home to in the evening and incorporate things 

that will bring a smile to your face. 

Brown, beige and taupe have replaced greys as the top trending neutrals. 

Where some greys can feel too cold or flat, rich and earthy Resene browns 

are full of warmth and complexities. Back wall painted in Resene Eighth 

Thorndon Cream, left wall in Resene Triple Thorndon Cream and floor in 

Resene Dark Chocolate. Table, stool and chair from Good Form, sideboard 

from Ligne Roset, pitcher, glasses, bowls, lantern, candle and books from 

Father Rabbit, flowers from Urban Flowers. 

If you need help choosing your Resene colours 

or wallpaper, book a colour consultation with a 

Resene Colour Expert, resene.co.nz/colourconsult 

or Ask a Resene Colour Expert free online, 

resene.co.nz/colourexpert.

50 Magazine | Promotion 

DIRECTORY 

HOME & LIVING 

LITTLE RIVER GALLERY 

Brent Forbes’ painting ‘Red Evening’ captures the rare, 

dramatic skies that turn landscape to heart-wrenching scene. 

Fleeting light, emerging shadow and reflections are revealed 

with broad, gestural strokes and daubs. This is a Forbes’ 

masterpiece. Acrylic on canvas, 1020 x 1530mm, $4200. 

littlerivergallery.com 

ANY EXCUSE 

Renowned for its elegant shapes and chic, 

timeless palettes, Robert Gordon has been 

creating ‘everyday’ pottery since 1945. Made from 

high quality stoneware, the latest collection is 

perfect for the rigours of a busy kitchen, without 

compromising on style. 

anyexcuse.co.nz 

CITTÀ 

Designed in Città’s New Zealand studio by David Moreland 

and Nikolai Sorensen, the Bough dining chair takes its cues 

from shapes in nature, showcased in the chair’s distinct organic 

form and composition. Available in Oak or Black, Bough is 

beautifully crafted with FSC-certified timber. 

cittadesign.com 

SAMSUNG BESPOKE X RESENE 

In an exciting new collaboration, Samsung has 

expanded its design-led Bespoke range of home 

appliances to offer customisation options in 

partnership with Resene. Available across the entire 

range of Bespoke fridges and dishwashers and starting 

from $129 per panel, aesthetically minded Kiwis 

can now choose any Resene solid paint shade for 

their panels to create designs that truly reflect their 

personality and affordably customise their appliances 

to fit their kitchen aesthetic. 

samsung.com

High-country hospitality 

Make like its avian namesake and swim, fish, nest and even fly while 

holidaying at Canterbury’s stunningly scenic Lake Heron Station. 

WORDS MIKE YARDLEY 

An hour west from Ashburton, I turned off the inland 

scenic highway at Mount Somers, bound for Lake Heron 

Station, a magnificent high country merino station that’s been 

a going concern for the Todhunter family since 1917. 

The original Lake Heron run was first established in 1857, 

before RC Todhunter purchased the station 60 years later. 

Today, great-grandson Philip Todhunter and his wife Anne 

run the station, with merino wool remaining the mainstay, 

alongside the alluring hospitality venture. They are truly 

exceptional hosts, with that quintessential air of authentic, 

disarming and charming high-country hospitality. 

Under a vast blue sky canvas, serrated by the soaring 

peaks of the surrounding mountains, Philip treats me to 

an illuminating 4WD farm tour across his vast, undulating 

backcountry realm, spanning 19,600 hectares and boasting 

11,000 merino sheep. Family farm dogs, Patch and Jan, come 

along for the ride. 

History runs deep at Lake Heron. To the west of the 

sparkling Cameron River, which tootles through the valley 

from Lake Heron to the upper Rakaia River, Philip points out 

the glacial lines conspicuously grooved into the hillsides above 

the Cameron. They denote the towering height of the Rakaia 

Glacier, before it retreated into oblivion at the end of the 

last ice age.

Travel | Magazine 53 

Five original station huts still remain on the sprawling 

property, cherished totems to the past. These shelters 

were originally built to assist with the mustering of sheep. 

The names of musterers from yesteryear can be seen 

etched on the hut walls. 

Today the huts are still used for accommodation, like the 

New Hut, which was built in 1923 and is still the base for 

the four-day autumn muster, in addition to accommodating 

guests seeking a backcountry escape. 

The autumn muster involves a team of six men and 18 dogs, 

ushering thousands of sheep down to lower country before 

the winter snows arrive. 

The country is too steep for horses or motorbikes and the 

shepherds move by foot with their teams of working dogs, 

scrambling across scree and climbing up to 800-metres a day. 

I was constantly stunned to see just how high these hardy 

sheep roam, easily mistaken for rocky outcrops on the high 

country slopes, before they suddenly move. 

Growing wool is still a major focus of the farming 

operation, with a large portion of the wool clip processed 

into active outdoor and leisurewear for Icebreaker. 

Icebreaker were pioneers in the merino field, being the first 

to successfully tailor this lightweight, breathable fibre into 

outdoor clothing built to last. 

The fleece from each merino sheep is spun into five 

garments a year, resulting in a natural, plastic-free product 

that’s cool in the summer and toasty in the cooler months. 

Angus cattle and lamb production also complement the 

farm business, too. Over a delicious dinner in the family 

homestead with Anne, Philip and their teenage son Oscar, we 

actually worked out that Lake Heron Station is the same size 

as Macau – or Paris. It’s a kingdom unto itself! 

The vastness of the station means you can choose from a 

wide range of walking and hiking options. Anne and Philip will 

equip you with maps and directions, whether you’re up for 

a short and sweet walk or full-day intrepid adventure. Mount 

Sugarloaf is a prized hike – this is a roche moutonnée, a rock 

formation shaped and smoothed by the passing of a glacier – 

not dissimilar to Lake Tekapo’s Mount John. 

If the weather is behaving, the jewel-like brilliance of Lake 

Heron deserves a dip. The lake mirrors everything around it, 

as flat as glass, rippled only by the surface trails of paddling 

birdlife. Life jackets, a small dinghy and kayaks are available 

from the station. As are fishing rods. Lake Heron is wellstocked 

with trout, so why not try your luck for the catch of 

the day? 

The lake is a wildlife refuge and home to a wide variety of 

waterfowl, notably the Southern Crested Grebe. I noticed the 

braided rivers also provide unique habitats for oyster catchers, 

black-fronted terns, banded dotterels and wrybills.

54 Magazine | Travel 

Another riveting option is to take to the skies with Philip, 

a commercial pilot with four decades of backcountry aviation 

experience both in helicopters and fixed-wing aircraft. He 

loves nothing more than taking passengers on a “flightseeing” 

tour of the station and surrounding mountains in his 

Cessna 185. 

To immerse yourself in the glory of Lake Heron Station’s 

surrounding landscapes, take a 40-minute flight featuring the 

mountainous high country merino stations of the Upper 

Rakaia and Rangitata Valleys, including the glaciated peaks of 

the Arrowsmith Range and Mount Sunday, the site of Edoras 

in Lord of the Rings. 

West of the station, another great option is to take the 

short flight to the Icefields. This 50-minute journey over the 

Arrowsmith Range takes you to the evocatively named ice 

fields of the Gardens of Eden and Allah. This is heartland 

wilderness country on a grand scale and the names of the 

features – The Warrior, Red Lion, Battleaxe Col, Sentinel 

Peak, Angel Col – indicate the resistance they put up to early 

explorers! 

On-site accommodation exemplifies the station’s deep 

commitment to repurposing and enhancing what their 

forebears left behind. Restoring station buildings for guests to 

enjoy underpins the accommodation offerings of Lake Heron 

Cottage and the New Hut, which can sleep up to six and 12 

guests, respectively. 

I bedded down in the newest offering, the Fisherman’s 

Hut, which Philip tells me was a “Covid project.” Designed 

for a couple, this romantic hut is a fully self-contained one 

bedroom unit with a stylish kitchen, laundry, living area and 

ensuite bathroom. 

As with all their accommodations, it keeps the faith with 

the high-country aesthetic. Snugly ensconced in cottage 

comfort, huddled beneath those purple mountains, a 

chandelier of constellations carpeted the inky sky as I drifted 

off to sleep, in the heart of hill country.

CONSERVATION | REHABILITATION | RESTORATION | EDUCATION 

CONSERVATION REHABILITATION RESTORATION EDUCATION 

Located on the spectacular Otago Peninsula, on the 

Located east coast on of the the spectacular South Island Otago of New Peninsula, Zealand, on The the 

east OPERA—Otago coast of the Peninsula South Island Eco of Restoration New Zealand, Alliance— The 

OPERA—Otago is a private eco-reserve Peninsula dedicated Eco Restoration conservation, Alliance— 

is rehabilitation, a private eco-reserve restoration, dedicated and education. to conservation, 

rehabilitation, restoration, and education. 

Guided tours provide guests the potential of viewing 

Guided hoiho (yellow-eyed tours provide penguins), guests the kororā potential (little of viewing 

hoiho penguins), (yellow-eyed sea lions, penguins), fur seals, sea kororā and (little forest birds, 

penguins), native flora, sea and lions, much fur more seals, within sea and our forest reserve. birds, 

native flora, and much more within our reserve. 

We invite you to become part of our story by joining 

We us for invite a tour you and to become learning part more of about our story our by work. joining 

us for a tour and learning more about our work. 

Visit our site at 

Visit our site at 

TheOPERA.co.nz 

TheOPERA.co.nz 

for booking times and details 

for booking times and details 

PROUD 

PREMIER PROUD 

SPONSOR PREMIER 

SPONSOR

56 Magazine | Recipe 

Kiwi-style comfort food 

Loved for her delicious, wholefood-driven dishes, Kelly Gibney shares some 

vibrant, family-friendly recipes that nod to both nourishment and nostalgia 

(including a dish by daughter Bonnie) from her latest cookbook, Enjoy. 

FANCY KIWI ONION DIP 

I find a chip and dip situation quite hard to resist. This homemade version of our iconic 

New Zealand dip is easy to make and tastes fantastic. Onions are sautéed low and slow 

until they are tender and lightly caramelised. I love this on a platter with my favourite 

potato chips and a bunch of raw veges for variety and colour. 

Serves 4–6 as a snack | Gluten free | Nut free 

Olive oil for sautéing 

3 medium onions, thinly sliced 

Salt and cracked black pepper 

1 small garlic clove, finely diced 

1 tablespoon Worcestershire sauce 

1 teaspoon balsamic vinegar 

250g crème fraîche 

Juice of 1 lemon (as needed) 

Finely chopped chives or spring 

onion to garnish (optional) 

Heat a generous glug of olive oil in a sauté pan over a lowmedium 

heat. Add the onion along with a good pinch of salt 

and cook gently for 20 minutes or more, stirring regularly until 

the onion is very tender and lightly browned. Lower the heat if 

they are cooking too quickly. Add the garlic and sauté for a few 

minutes. Add the Worcestershire sauce and vinegar and cook for 

one last minute. 

Remove from the pan and place in the fridge to cool completely. 

Roughly chop the cooked onion. Mix through the crème fraîche 

along with a good squeeze of lemon. Season well with salt and 

cracked pepper. 

Garnish with chopped chives or spring onion before serving.


BONNIE’S SMOKY 

BAKED BEANS 

I taught my eldest daughter Bonnie 

how to make this when she was nine, 

because she loves hearty bean dishes. 

It’s really simple to prepare and is 

fantastic alongside eggs at brunch, in a 

bowl with chunks of sourdough to dip 

in it, or with sausages for a cosy meal. 

Adding a can of corn kernels or corn 

from a fresh cob is great too. Add them 

in the last few minutes of cooking to 

keep their sweetness. 

Serves 4 | Gluten free | Nut free | Vegan 


2 medium onions, diced 

4 garlic cloves, finely diced 

2 teaspoons ground cumin 

½ teaspoon ground coriander 

½ teaspoon garam masala 

1 teaspoon smoked paprika 

Pinch dried chilli flakes (plus more if desired) 

2 x 400g cans chopped tomatoes 

1 cup water 

1 x 400g canned cannellini beans, drained and rinsed 

1 x 400g canned black beans, drained and rinsed 

1 x 400g canned butter beans, drained and rinsed 

1 tablespoon tamari or soy sauce 

Sea salt and cracked black pepper 

Heat a generous glug of oil in a sauté pan over 

a medium heat. Add the onions and cook until 

translucent and tender. Add the garlic and 

cook, moving frequently, for a further minute. 

Add the spices and give them a minute in the 

pan to become fragrant. Add the remaining 

ingredients and bring to a boil. 

Reduce to a simmer and cook for 25–30 

minutes until the sauce has reduced and 

thickened, stirring often to prevent it sticking 

to the bottom of the pan. Add more water if 

the sauce has dried up too much. Season well. 

Can be stored in the fridge in an airtight 

container for up to four days. Will freeze 

brilliantly for up to six months.

KELLY’S FISH PIE 

I make this every Easter, and then as many 

other times as possible throughout the year. 

Yummy with a crisp glass of chardonnay. 

Serves 4–6 | Nut free 


1 medium onion, diced 

2 large garlic cloves, finely diced 

50g butter 

½ cup flour 

750mls milk 

3 tablespoons capers, drained 

1 teaspoon grainy mustard 

Handful fresh parsley, roughly chopped 

Handful fresh dill, roughly chopped 

Zest of 1 lemon 

300g smoked fish, bones and skin discarded 

300g firm white fish, cut into bite-sized pieces 

3 free range eggs, hard-boiled and peeled 

3 cups mashed potato 

1 cup panko bread crumbs 

Butter for topping 

Sea salt and cracked black pepper 

Preheat the oven to 200°C. 

Heat a generous glug of olive oil in a saucepan 

over a medium heat. Add the onion and cook until 

tender and translucent. Add the garlic and cook 

for a further minute. Add the butter and let it melt 

before adding the flour and mixing well. Cook the 

butter and flour for 1–2 minutes without browning. 

Add the milk in stages and whisk continuously to 

eliminate any lumps. 

Bring to a boil and then simmer for 3–5 minutes 

more until the sauce is nicely thickened. 

Add the capers, mustard, parsley, dill and lemon 

zest. Season with salt and pepper. Mix well. Remove 

from the heat. 

Break the smoked fish into bite-sized pieces and fold 

through the sauce along with the fresh fish. Spoon 

into an oven proof dish. Cut the hard-boiled eggs 

into quarters and scatter over the top. 

Top with the mashed potato and then the bread 

crumbs. Dot some butter over the top to make the 

breadcrumbs crunchy and golden. 

Bake for roughly 30–35 minutes or until the top is 

golden brown and the sauce is bubbling hot. 

Leave to sit for 10 minutes before serving.


STONE FRUIT AND 

RASPBERRY CLAFOUTIS 

This is the easiest dessert ever and 

an absolute delight. A French classic 

that can be whipped up and in the oven 

in 10 minutes. The day that I ended 

up shooting this recipe for my book, 

I threw it all together at 4.30 in the 

afternoon after spotting some peaches 

and nectarines on my kitchen windowsill 

that had to be used. I photographed it, 

then made us dinner and it was perfectly 

warm when we had it for dessert later. I 

make this recipe with all kinds of fruit so 

use whatever you have on hand. Cherries, 

rhubarb and pears are all fantastic. 

Serves 4 | Gluten free if substitution used | 

Nut free | Vegetarian 

½ cup flour (regular or gluten free 

all-purpose will both work well) 

½ teaspoon baking powder (use 

gluten free baking powder if needed) 

½ cup sugar 

Pinch salt 

3 free range eggs 

1 cup full fat milk 

½ cup cream 

1 teaspoon vanilla extract 

2 nectarines or peaches, stone 

removed and sliced fairly thinly 

Handful fresh or frozen raspberries 

To serve: icing sugar for dusting, 

fresh cream 

Preheat the oven to 180°C. 

Place the flour, baking powder, sugar and salt in a 

large bowl. Whisk briefly to combine. 

Add the eggs, milk, cream and vanilla. Whisk until 

very smooth. 

Pour into a well greased 23cm round dish. I like to 

use a cast iron pan or heavy-bottomed pie dish. Tile 

the sliced fruit on top. The pieces can overlap. Dot 

the raspberries over this. 

Bake for 30–35 minutes until lightly golden and 

mostly set. A little quiver in the middle is fine. 

Allow to cool until just warm. Dust with icing sugar 

and serve with fresh cream. 

Extracted from ENJOY: Food 

Worth Sharing with the People 

You Love by Kelly Gibney, 

RRP$60.

Discover a beautiful world of art and music 

Pop up 

Museum 

66 Gloucester 

Street 

Robin Slow . Brian Flintoff . Bob Bickerton 

Ariana Tikao . Holly Weir Tikao . Solomon Rahui 

Exhibition on now

62 Magazine | Arts 

Folded in the hills 

In the first major retrospective of the late Dunedin artist Marilynn Webb’s work, Dunedin 

Public Art Gallery curators Lauren Gutsell and Lucy Hammonds, artist Bridget Reweti 

and art historian Bridie Lonie take a look at her print-making practice, her love of the 

environment in which she lived and the legacy she leaves. 

WORDS REBECCA FOX

Arts | Magazine 63 

Artist, feminist, environmentalist and 

activist – Marilynn Webb wrapped up 

all her passions in her art. 

Her works are a record of a New 

Zealand that is no longer, of environments 

that have been irrevocably changed. 

“She encapsulates so many really 

important concerns – from the 1950s 

until she died,” art historian Dr Bridie 

Lonie says. 

But even though her print-making 

work is internationally renowned, Marilyn 

(Ngāpuhi, Te Roroa and Ngāti Kahu) is 

less recognised in New Zealand for her 

contribution to the country’s art and 

culture – something Dunedin Public Art 

Gallery (DPAG) curators Lucy Hammonds 

and Lauren Gutsell and artist Bridget 

Reweti hope will change with a major 

retrospective exhibition and book, Folded 

in the Hills. 

“All of us felt it was long overdue to 

make an exhibition that celebrated the 

scope of Marilynn’s career in art and 

celebrate that. To redress the oversight in 

historical records to this point,” Lucy says. 

The curators say even though Marilynn’s 

work is well known in the Dunedin artistic 

community, the exhibition is a way of 

raising awareness of her practice at a 

national level. 

“To highlight and honour the value she 

has in New Zealand art and make a stand 

or point of it,” Bridget says. 

Bridie, who wrote a book with Marilynn 

in 2003, agrees, describing Marilyn as 

something of a “prophet” for want of a 

better word. 

“She argued fiercely for what she 

believed in. She wanted her work to be 

useful and valuable, to speak of everyday 

concerns and values.” 

However, some acknowledgement of 

her work came in her later years. She was 

awarded an Officer of the New Zealand 

Order of Merit for her services to Art 

and Education in 2000 and in 2010 Webb 

received a University of Otago Doctor of 

Laws Honoris Causa for her contribution 

to Art and Art Education, followed in 

2011 by a Ngā Tohu a Tā Kīngi Ihaka 

award from Te Waka Toi in recognition of 

a lifetime contribution to ngā toi Māori. 

The 140 works in the exhibition span 

from 1968 to 2005. In pulling together 

the exhibition, Bridget was surprised at 

how few of Marilynn’s works are held by 

major New Zealand art institutions. Most 

of the works come from the Marilynn 

Webb Estate, DPAG’s collection (its first 

acquisition of her work was in 1973), 

the Hocken Collection and the Eastern 

Southland Art Gallery. 

It looks at her early works in the 

1960s – when she was based in Auckland 

and travelling around Northland as a 

specialist arts adviser in schools, while also 

developing her own practice – to the early 

2000s, when she was deeply immersed in 

the history of place, and water began to 

feature more strongly in her work. 

“There is a real continuity of thinking 

and relationship of what it means to be 

an artist – what it means to be an artist in 

Aotearoa and have a relationship to that 

place in which you are working through 

your practice,” Lucy says. 

“It is totally consistent, despite it taking 

radically different forms and expressions 

throughout the exhibition.” 

Bridget says it is important to be able 

to position Marilynn, who was born in 

Auckland and raised in Ōpōtiki, Bay of 

Plenty, alongside her contemporaries of 

her era. 

The exhibition marks important 

milestones in her career such as being 

awarded the Frances Hodgkins Fellowship 

in 1974 – the first Māori woman and first 

and only printmaker to do so. 

“She made the decision from then on 

she was going to pursue life as an artist, 

fully committed, largely driven from a 

studio practice from that point on,” 

Lucy says. 

Lauren says it brought Marilynn back 

to Dunedin where she trained at teachers’ 

college as part of Gordon Tovey’s art and 

craft scheme in the 1950s and she began 

to develop a deep relationship with the 

South that continued throughout her life. 

“You see her coming to know [the area] 

and gradually developing this commitment 

to basing her life here.” 

Her first exhibition was in 1957 at 

Stewart’s Coffee House in Dunedin. It was 

of paintings, as she did not delve deeply 

into printmaking until the 1960s when, 

through her work in education, she had 

access to printing presses.


LEFT FROM TOP: Marilynn Webb, ‘Mataura Valley Suite No. 1 1995’. Pastel 

on arches paper, 575 x 760mm image size. Collection of Eastern Southland 

Gallery, purchased with a donation from D. Gilchrist Feb/March 1995. 

Marilynn Webb, ‘Rakiura 2002’. Pastel on paper. 565 x 760mm image/paper 

size. Marilynn Webb Estate collection. 

ABOVE: Marilynn Webb. ‘Drawing for Sunset Block – Mahinerangi 1974’. 

Monotype, hand-coloured on paper. 740 x 445mm; 900 x 640mm paper 

size. Hocken Collections – Uare Taoka o Hākena, University of Otago. 

RIGHT: . Marilynn Webb, ‘Cloud Landscape 2 1973’. Linoleum engraving 

330 x 585mm paper size. Collection of the Dunedin Public Art Gallery. 

Purchased 1973 with funds from the Dunedin Public Art Gallery.

66 Magazine | Arts 

PAGE 62: Photographer unknown [Marilynn Webb] 

c.1975. Uncatalogued archival material, Marilynn 

Webb Estate collection, Hocken Collections – Uare 

Taoka a Hākena, University of Otago 

FROM TOP: ‘Thunderstorm & the Waipori River’, 

1981. Hand-coloured linocut on paper. Marilynn 

Webb Estate collection; ‘Snow clouds and tussock, 

Lake Mahinerangi’, 1989. Hand-coloured linocut on 

paper. Collection of the Dunedin Public Art Gallery. 

“In the ’60s everybody didn’t have a printing press in their 

studio. The equipment was hard to come by, so she had 

that opportunity. I suppose she found space to be 

experimental, to find a way of making imagery that she 

found creatively stimulating.” 

Printmaking also provided Marilynn a space to be creative 

which provided opportunity for female artists and did not have 

the hierarchy that many other forms such as painting did. 

“It is interesting from an art historical point of view – how 

many things collided in the ’60s and ’70s that cemented that 

commitment to printmaking.” 

Part of that was the huge international interest in 

printmaking in the ’70s. A lot of different initiatives were 

established which raised the profile of printmaking and gave 

more opportunities to artists and printmakers. 

“Over her career she found a community and an audience 

who supported her practice over decades.” 

Another was what Marilynn called her “accidental” discovery 

of what became known as the Lino Intaglio process. She 

carved a plate too deep and then over-inked it, so when it 

went through the press, the paper was pushed deep into the 

cuts on the block and the paper became raised. 

“For Marilynn that was a light bulb moment – an 

opportunity in how she could come to an art form, which 

developed into a Lino Intaglio printing process. Over time 

she blended the technique with mono printing, etching and 

hand colouring.” 

Marilynn, who continued teaching for much of her career 

producing some of New Zealand’s top printmakers, also 

challenged the perceptions of printmaking. At the time it 

was considered a craft practice or minor art form as works 

were reproducible. 

Bridie says Marilynn argued against that to the New Zealand 

Print Council and ultimately shifted her practice to make it 

unique by combining printing with hand painting. 

Lucy says understanding the innovation in Marilynn’s work 

was important as it played a major part in her commitment 

to the form. 

Marilynn was widely travelled and exhibited throughout 

the world. 

“She had a deep commitment to her practice as a 

printmaker, and disrupting it at the same time, which is what 

was recognised in those communities throughout the world. 

There was something unique in character about her practice.” 

Her activism was part of that, especially in the 1980s. She 

made bodies of work now known as her ‘protest works’. 

“The coalescing of different issues in the community, and 

that were high profile in Aotearoa – specifically infrastructure 

of the Think Big era and, for Otago, the aluminium smelter at 

Aramoana – was a pressure point for many in the community. 

Also hydro electric schemes, things that impacted or made 

incursions on to the environment. Nuclear testing in the South 

Pacific was another.” 

Bridie says Marilynn, whom she describes as “funny, feisty 

and clever”, was often at the “margins, shouting”, taking often 

“unfashionable positions” at the time. 

Lucy says the exhibition looks in particular at what it 

means to stand in defence of something throughout an 

artistic practice. 

“She often talked about how important it was to make her 

voice heard.”


ABOVE: Curators Lauren Gutsell, Bridget Reweti, and Lucy Hammonds in the Marilynn 

Webb: Folded in the hills exhibition with the accompanying publication. Photo: Peter McIntosh 

In parallel to those works are her “protection works” which move in and 

out of those issues often with references to her Celtic history. 

“There is a holistic gesture of protection of specific places or points in 

time that she felt were important to her. Her commitment to activism, the 

environment, politics or feminism was deeply important to her as a person.” 

The exhibition also has a break-out focused on Lake Mahinerangi, a place 

Marilynn returned to repeatedly over her lifetime and included in her work, 

allowing a look at the place and how important it was to her. 

Gutsell says the exhibition also focuses on the later phases of Marilynn’s 

work, in particular her journey of exploration across the landscapes of the 

lower South Island such as the Mataura River and Fiordland where she spent 

a lot of time in later years. 

“They’re very beautiful and profound works.” 

Bridie says Marilynn’s work mapping the environment in Eastern Southland 

and similar work in Dusky Sound and Stewart Island all consistently involved 

the local community. 

“She built community.” 

Lauren says in bringing all of Webb’s works 

together there is a clear sense of the role 

colour played across her practice. At the 

start of her career it was very minimal – 

black and white with very linear positions 

between land and sky, but by the time of the 

fellowship, colour started to appear in “very 

intense and powerful ways”. 

“There is a lot of symbolism, emotion and 

energy – you can track the use of red, pinks 

and greens.” 

Again, looking at the works from early 

in her career to later in her career, they 

are very connected, but also could not be 

further apart in terms of visual language. 

Lucy says Webb’s consistency of vision 

tracked so much of Aotearoa’s social, political 

and culture development from the 1960s 

until she died. 

“Making the exhibition … gives sense to 

the things she railed about. 

“She talked openly about barriers and 

frustrations and it became quite apparent 

when you look at the scope of work – from 

the inability to recognise printmaking for 

full worth to difficulties pursuing an artistic 

career as a woman and mother.” 

The exhibition provides an “amazing 

opportunity to show all of these important 

things her work carries”. 

She says recording women’s art history 

is crucial. 

“It is still lacking in Aotearoa, there are still 

huge gaps and Marilynn is one of those.” 

Her work leaves a legacy of “hugely salient 

points” for the current moment, she says. 

Marilynn Webb: Folded in the Hills, Dunedin Public Art Gallery to April 7, then June 8 to 

October 13 at Christchurch Art Gallery. 

29 February - 

01 April 2024 

OPENING EVENT 

02 March 11am 

SHARED 

LINES 

BEN REID, 

JOSH BASHFORD 

SASKIA VAN VOORN 

AND NIC TUCKER 

“In joy or sadness, 

flowers are our 

constant friends” 

- Okakura Kakuzo 

03 325 1944 

Main Rd, Little River 

littlerivergallery.com 

art@littlerivergallery.com 

victoriaflorists.co.nz 

Cnr Wairakei and Idris Rds 

Phone 351 7444

Fiction | Magazine 69 

Hey Dude 

03 is thrilled to share a short story from celebrated New Zealand author 

Patricia Grace’s compelling new collection Bird Child & Other Stories. 

was looking for you to tell you that both ‘places of 

I accommodation’ were full. I didn’t know what else to call 

them but ‘places of accommodation’, as they didn’t fit the 

description of any motel, hotel, B&B or other place I’d seen 

anywhere in the world. They were unlike any buildings I, or 

you, had ever come across, being large, single-storey, domeshaped 

structures made of what appeared to be mirrors cut 

in triangular shapes. They looked like an imagined version of 

a landed space craft except that they were attached to the 

ground – dry ground, brown, dusty, as though there had been 

no rain for months. I was trying to remember rain. 

There was nothing else in sight. I knew you would be 

interested in the buildings, which were about fifty metres apart, 

similar to each other but not identical. There were no roads, 

no vehicles. I didn’t see anyone, and didn’t go inside, as both 

places had their ‘No Vacancy’ signs out. Handpainted boards. 

No neon. 

I went looking for you to tell you about all of this so we 

could make new plans, but didn’t know where to find you. 

So, I wandered until I came to a worn track, so narrow that I 

guessed it must have been made by animals, though there were 

none to be seen. No sheep. No cows. Nothing for them to 

feed on anyway. 

The track led me up a hillside. Halfway up I stopped and 

looked down. That’s when I saw you, the back of you, walking 

away, following a crowd of people who were wearing an array 

of clothing from formal, through costume and streetwear, to 

light casual. 

This crowd was making its way to a gateway, and on reaching 

it began going through in a leisurely way, chatting to each other. 

There were no pearly gates. There were no actual gates, only 

two old wooden gateposts, uncarved, the distance between 

them being that of an ordinary farm gate. You were about to 

follow through when you stopped and turned to look at me, as 

though you knew I’d be watching. 

So, there you were, straight and bony, fit, well, old and happy, 

dressed as though going for a round of golf: sharp creases in 

your trousers, Michael Campbell designer shirt, shoes at high 

polish. I knew there would be a folded handkerchief in your 

right-side pocket, your wallet in the back one. No golf clubs. 

Your hands were free. You waved, smiled, so I waved and 

smiled back. It was all I could do. You turned away and followed 

those others who were your people now. The sky was pale, 

stretched, pulled down like balloon rubber to a white horizon. 

All right for some, I thought, going off happy with all those 

hunga mate. 

I was looking at a yellow ceiling, the soft yellow of 

under‐ripe corn. It was the colour we chose for walls and 

ceilings when we decided to do up the bach. Or pastry colour, 

your paint roller going across and back stickety click, me in 

charge of small brushwork. 

And OMG, yesterday’s earworm hasn’t left me. It has 

survived the night. Could be with me all day, again, chewing. 

Forever? 

The one about taking a sad song and making it be-e-e-da. 

I’ve been told you can get rid of earworms by singing the 

happy birthday song three times in succession. I’m reluctant to 

try it in case I end up with the birthday song on the brain. 

There’s a tent city outside. Four tents. You would like to 

know that we have kept coming here. One out front under the 

ngaio tree, one down by the water tank, and two in among 

the nectarines. As for me, got a whole bedroom to myself, 

the whole house to myself, for now. The kids are up already, 

chattering and running; there’s a baby crying. Kids, parents’ll 

all be in soon. Toast, cereal, coffee, whatever. Coffee? There’s 

a thought. If I knew the whole song maybe it wouldn’t be so 

annoying. Something about Jude not making it bad… 

We came up in three loads: Tipi’s van; the four-wheel-drive; 

and my car driven by Jay. Trailer with all the gear, including the 

kids’ bikes. If I knew the whole song I might understand what 

there could be to make life bad for Jude, but I only know three 

or four random lines. 

Jude, short for Judith. Or, the addressee could be male. For 

example, there’s your niece’s son Judah, called Jude, and that 

Jude fella at the golf club. As a name it’s a bit androgynous. 

If I knew all the words I might know what could make Jude 

afraid. Of being alone perhaps? Abandoned? Of stepping out, 

standing out, standing back, speaking up, giving up, go-getting? 

Of darkness, the past, the now, the future? Most likely of losing 

a dodgy lover, as in many songs. 

It’s good advice though, don’t you think? To make a sad song 

into something better? It’s not about getting rid of sadness 

but keeping it, treasuring it as a fine ingredient. That’s my take 

on it. It’s about having a balanced recipe. We used to watch 

MasterChef on TV, amateur cooks competing for a major prize. 

Lots of hugs, tears and dramatics. Night after night there were 

cook-offs, with the least favoured dishes sending their creators 

home. You didn’t like it at first. 

Important to all good cooking was to have fine cuts of meat, 

fresh ingredients, and not to drown what was to be the hero of 

the dish with too much fancy stuff. At the same time the judges 

looked to detect a complexity of flavours – sweet, sour, bitter, 

salt, heat and spice. Textures – smooth and crunchy. They liked 

colour and inventiveness. All, combined with artistic plating, 

could produce a winner. 

So, you don’t attempt to ditch the sad; instead you keep it, 

give it its due, its own place. Let it be salt. Embrace it. That’s the 

word these days. Embrace. You embrace. Not just lovers, kids 

or your relatives, but ideas, comments, histories, new-fangled 

stuff, other people’s music. Instead of stressing out about 

people having loud, one-sided cellphone conversations in trains 

or buses when you’re trying to read, or in cafés or other public

70 Magazine | Fiction 

places, you listen in, embrace, make the best you can of the 

situation. You could be rewarded. You never know what there 

might be to intrigue you. 

Androgynous. I watched Project Runway All Stars the other 

night. You wouldn’t like it and I shouldn’t either: female bodyimage 

issues and all that. A group of dress designers compete 

with each other to create outfits which are modelled on the 

runway by masked insects wearing stilettos, and judged. The 

designers are given a theme and two days in which to design 

and make. Every so often a mentor comes into the workroom 

offering encouragement and advice. He’s like the Wonderland 

Rabbit, pale and dapper, in and out. The theme this time was 

androgyny. Instead of having just one model to dress, the 

designers had to come up with two similar outfits: one for a 

female and one for a male. 

I enjoyed seeing what they created: dresses for soldiers, 

harlequin swap, lace tuxedos, matching street strides 

featuring handkerchiefs lolling out of pockets. I liked the street 

stride outfits best, but according to the judges they lacked 

androgyny so the designer had to pack his scissors and things 

and go home. 

You and I belong to the era of handkerchiefs. Hankies were 

compulsory items when we were at school and were inspected 

daily. Ironed and folded four times was how I carried mine in 

my gym-dress pocket, not that the ironing and folding were 

compulsory, nor did it have to be a real handkerchief. A piece 

of ripped rag was permissible. 

I felt sorry for the rag-hanky kids and the ones who had 

handkerchiefs pinned inside their pockets so they wouldn’t 

get lost. I thought they had mean mothers – mean, as in 

unkind. The word ‘mean’ can have a different definition these 

days. Said with a certain emphasis, it has an almost opposite 

interpretation to what we’re used to: very good, excellent, 

something special. “That’s a mean haircut.” Or, “How was the 

movie?” 

“It was mean.” 

“Yeah?” 

“Yeah, mean.” 

Hankies were given as gifts. Women’s hankies were often 

handmade, hemstitched round the edges and embroidered 

with flowers in one corner. Stem stitch, back stitch, lazy daisy, 

satin stitch, blanket stitch, hem stitch. Why am I telling you all 

this? Why? Because remembering can make a sad song bedda. 

Handkerchiefs, men’s or women’s, could be bought singly or in 

sets of four in flat boxes. I liked the boxes. 

You had your own pile of hankies and I had mine, presents 

from way back. But one day it occurred to me, after a search 

through pockets and bags, that I was down to just a fragile 

three. The next time we were in town I went to buy a half 

dozen, looked about in what I thought were likely shops – 

Farmers, Kmart, the Warehouse – but didn’t find any. I didn’t 

want to spend too long shopping as you were waiting in the 

car for me. We were to have lunch at Esquires before I took 

you to your appointment. In one store when I asked about 

handkerchiefs the shop assistant looked surprised. “We don’t 

have anything like that,” she said. “Try the pharmacy.” 

So, I went across to the pharmacy and saw handkerchiefs, 

unpleasant, scratchy-looking dots and stripes packaged in with 

rose or lavender soaps and lotions. They looked palliative, or at 

least geriatric. I’d never bought handkerchiefs for myself before. 

Why start now? I thought. Why should I buy handkerchiefs? As 

though I was going to need them. As though inviting crying. 

That night I said to you, “I’m nearly out of hankies. Two or 

three about to fall to bits. Blow my nose on one of those and 

it’d all shoot out the other side.” 

“Use mine,” you said. “There’s a whole heap.” 

So that’s what I did, that’s what I do. They’re bigger. 

They’re bedda. 

They’ve all come in. They’ll be making real coffee in the 

machine brought all the way from Paekākāriki. They’ll pour 

Nutrigrain into bowls for the kids. It’s full of sugar, should be 

banned. Manufacturers should be thrown in jail for poisoning 

children. Murderers. It makes you wonder who are the real 

criminals in this world. 

My phone gargles and I reach for it. 

cofi? it asks. 

yip I reply. 

I get up and go for a shower, take my time, put on a pair 

of shorts and one of your shirts, a pair of scuffy slippers from 

a hotel we stayed in where they give away slippers. One size 

fits all. You never wore yours. I return to the bedroom and 

make the bed. There’s mooing, barking and meowing going on 

out there in the big room. Yoga. Downward-facing dog, cow 

pose and all that. Aunty Instructor is giving her instructions in 

te reo. 

I open the door. Three-legged dogs all over the floor, 

the fourth legs, pretending to be missing, are waving in 

the air: fat ones, skinny ones, hairy ones, little ones, brown 

ones, white ones. There’s barking, woof woof woof, which is 

not in the kaupapa, not in the spirit of yoga. Ought to be 

composed, serene, calm, peaceful, meditative, breath-controlled. 

But the sights and sounds go a long way towards making a sad 

song better. 

A father is at the table with a baby braced to him by a big 

arm. He’s frowning, eating an apple and doing a crossword. 

Without looking up he stands, leaving the apple and the 

crossword, but keeping the baby and the frown. He makes my 

coffee into an All Blacks coffee cup and brings it to the table. 

I take the baby, who looks straight into my eyes. Makes a sad 

song better. 

“What’s ‘Rags to riches’, ten letters?” the father asks. The 

yogaists are sitting cross-legged, quiet, eyes closed, or one eye. 

Game over. They converge, give me morning greetings; begin 

making toast, dishing out porridge. I’m informed that the beach 

horse races are on at eleven o’clock. They’re going to make 

sandwiches. They’re going to get a feed of mussels off the wharf 

piles when the tide goes down. Swim. Fish off the bridge. 

Porridge? That makes a sad song better, not a pop or crackle 

in sight. You always threw nuts and sultanas in yours. The kids 

take their bowls out onto the deck. 

“What about Cinderella?” I ask, counting out ten letters on 

my fingers. 

“That’ll do,” the father says, and writes it in the grid. 

I’m going to fix small hooks to my hand line and fish off the 

bridge when the tide comes in – after the horse races. 

Dude. That’s bedda. Dude. Classy, skinny, snappy, healthy, 

striding, laughing, old or not. Sharp shooting, with a bit of sting. 

Hey, Dude, don’t be afraid. Except you were never afraid of 

anything. Ah, mmm, except of failure. And owls. Just one owl, 

the white one in the pine trees a hundred years old. 

‘Hey Dude’, from Bird Child & Other Stories by Patricia Grace, Penguin, $60.

72 Magazine | Read 

Book club 

Great new reads to please even the pickiest of bookworms. 

WINNING REVIEW 

YOU'VE BEEN 

READING 

THE NIGHT SHE FELL 

Eileen Merriman | Penguin, $37 

A beautiful young law student dies on the concrete below 

her third-storey window in chilly Dunedin. It’s clear enough 

how she died. What isn’t is why – or who’s involved. Plenty of 

people had a reason to hate Ashleigh, with her straight As and 

perfect looks. She’s fallen out with her flatmates, her boyfriend 

Xander is having second thoughts, and then there are the 

weird messages. A gripping psychological thriller from one of 

New Zealand’s most multi-talented contemporary novelists. 

UNTIL AUGUST 

Gabriel García Márquez | Penguin, $40 (hardback) 

Sitting alone, overlooking the lagoon, Ana Magdalena Bach 

surveys the men of the hotel bar. She’s happily married, and 

yet, every August, she travels here to the island where her 

mother is buried, and for one night takes a new lover... The 

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BEHIND THE SEAMS 

Esme Young 

Allen & Unwin, $45 (hardback) 

Young by name, eternally youthful 

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Young, known to many as one of 

the judges on the popular BBC 

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certainly lived a colourful, full-on 

life. And at 70+, it’s still as full-on 

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Well worth the read, her story 

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THE SPACE BETWEEN 

Lauren Keenan | Penguin, $37 

As English settlers wage war on local iwi in colonial Taranaki, two 

women confront their pasts to survive the present. As conflict 

rises, both women must find the courage to fight for what is 

right, even if it costs them everything they know. This gripping 

historical debut by Lauren Keenan is a story of the transformative 

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and the discovery of love in the least likely of places. 

THE CALL 

Gavin Strawhan | Allen & Unwin, $37 

After surviving a brutal attack, Auckland cop DS Honey Chalmers 

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sister, Scarlett. Gripping and suspenseful, with a killer ending, The 

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Winner of the Allen & Unwin Fiction Prize 2023.

Read | Magazine 73 

PICCADILLY PICKS 

THE WIDE WORLD 

Pierre Lemaitre 

Headline Publishing, $38 

In 1920, Louis and Angele 

Pelletier emigrate to Beirut 

and by 1948 have four 

children and have established 

the largest soap-making 

empire in Lebanon. 

Oldest son Jean is chosen to 

take over the business but fails 

and resigns. He murders his 

first victim and flees to Paris 

with his complicit wife. Francois has returned to Paris to 

be a journalist and sister Helene follows. Youngest brother 

Etienne arrives in Saigon in search of his lover, Raymond, 

missing and believed killed in fighting against the Viet Minh. 

He uncovers a huge currency fraud which is enriching the 

French enablers and funding the Viet Minh enemy. Back 

in Paris, Francois is reporting on the serial killings of three 

young women. 

As with all of Pierre Lemaitre’s novels, the emphasis is 

on his characters and the foibles and flawed natures they 

exhibit. The world he describes, the fear in Vietnam and the 

mood of post-war Paris add to the strength of the novel. 

This is the first volume of the ‘Glorious Years’ series and it 

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Ruth Shaw 

Allen & Unwin, $39 

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Bookshop Dogs, however, tells us of specific dogs who 

have called, with or without their owners into the “three 

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In her role as a youth worker in Invercargill, Ruth was 

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Shepherd, who cost $10 through Dogwatch Adoption. The 

adventures of Hunza are woven throughout the chapters. 

Each visiting dog and their owner have their own story. 

Shady Lady and the Photographer, Lucky the Pig Dog, Tui 

the Reading Dog, Bill the Hunting Dog, Rafferty the Gentle 

Giant and Handsome Hank are just some of the canine 

personalities portrayed. Ruth has perceptively described the 

various dog/owner relationships and many doggie readers 

will identify with them. Each dog chapter begins with black 

and white photos by Shady Lady’s owner, Graham Dainty. 

– Helen Templeton 

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74 Magazine | Win 

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Every issue, 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 March 25, 2024. 

the South iSland lifeStyle magazine MARCH 2024 

the 

South 

iSland 

lifeStyle 

magazine 

Food for sharing 

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Banish dark spots 

While we love a good long Kiwi summer, sun exposure can 

be one of the many contributors to hyperpigmentation. 

Thankfully Dermalogica has just launched a new gamechanging 

treatment duo to beautifully tackle those pesky 

post-summer dark spots. We have one The PowerBright 

Dark Spot System (including Dermalogica PowerBright Dark 

Spot Peel and PowerBright Dark Spot Serum) worth $288 

up for grabs. 

dermalogica.co.nz 

Lush lippies 

To celebrate the rollout of her gorgeous new illustrated 

packaging and help ensure more Kiwi lips are looking and 

feeling fabulous, local lipstick queen Karen Murrell has 

chosen a set of her three top-selling ‘everyday nude’ shades 

(Cordovan Natural, Violet Mousse and Driven, $35 each) all 

created in the natural, nourishing, long-lasting and colourpacked 

formula she’s famous for, for us to give away. 

karenmurrell.co.nz 

PREVIOUS WINNERS 

Hailwood Hera sterling silver earrings: Narelle Wu, Liberty Pirani 

The Abundant Kitchen and The Abundant Gardener book sets: Anita Whaitiri, Ann Kidd 

SailGP double pass: Clare Rice 

*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.

*Finance offer available on selected New Nissan models registered between 01/01/2024 and 31/03/2024. Approved applicants of Nissan Financial Services New Zealand only. 

Fixed interest rate of 1% p.a. only available on loan terms up to 24 months (3.9% p.a. applies for 25-36 months, 4.9% p.a. applies for 37-48 months and 5.9% for 49-60 month 

loan terms). No deposit required. Terms and conditions apply. This offer includes an establishment fee of $375, PPSR fee of $8.05 and $10 account keeping fee. All lease and 

some fleet purchasers excluded. Nissan reserves the right to vary, extend or withdraw this offer. Not available in conjunction with any other offer. 

CHRISTCHURCH NISSAN 

392 Moorhouse Avenue, Christchurch 

Ph: 03 595 6820 www.christchurchnissan.co.nz 

RANGIORA NISSAN 

321 High Street, Rangiora 

Ph: 03 941 3175 www.rangioranissan.co.nz

Briarwood Christchurch 

4 Normans Road, Strowan 

Telephone 03 420 2923 

christchurch@briarwood.co.nz 

briarwood.co.nz

03 Magazine: March 08, 2024

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