03 Magazine: October 01, 2025

the South island lifestyle magazine october 2025 

the 

South 

island 

lifestyle 

magazine 

FREE | October 2025 

AN EXCLUSIVE LOOK INSIDE DUNEDIN’S STUNNING HERITAGE TREASURE, OLVESTON HOUSE | MUSIC LEGEND SIR DAVE DOBBYN 

RETURNS TO HIS SLICE OF HEAVEN (THE SOUTH ISLAND) | WĀNAKA SHEEPSKIN CO WILSON & DORSET SETS UP (VERY STYLISH) 

SHOP IN ŌTAUTAHI’S ARTS CENTRE | THE AWARD-WINNING CENTRAL OTAGO NEW-BUILD THAT NODS TO A BELOVED FAMILY HOME 

ANNA CAMERON’S CHEESY SPINACH DIP, ULTIMATE POT ROAST AND STICKY DATE PUDDING WITH BUTTERSCOTCH SAUCE

Buck Shelford 

at Burlington... 

New Generation Lifestyle Villages...

Burlington Lifestyle Village residents recently 

enjoyed an afternoon with Sir Wayne “Buck” 

Shelford, MBE—one of New Zealand’s most 

respected rugby legends and a former All 

Blacks captain. 

This TRILife Live Talk was part of Qestral’s 

TRILife Wellness Programme, recently named 

Activities Innovation of the Year at the 2025 

World Ageing Festival in Singapore. 

The talk was held in Burlington’s awardwinning 

Pavilion, recently recognised with 

Best in Category and Excellence Award at the 

2025 New Zealand Property Council Awards— 

illustrating Burlington’s leadership in aged 

care and lifestyle living. 

Redwood, Christchurch 

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Hello 

While museums are obviously marvellous spaces, there’s a 

special kind of enjoyment in being able to step inside the 

doors of historic homes – especially those, like our cover star 

Olveston House, that still richly reflect the lives and times of those 

who resided there. 

Completed in 1907 for the Theomin family, on her death in 

1966, Dorothy Theomin bequeathed the beloved home and its 

wonderfully preserved contents to the city of Dunedin to be opened 

to the public, and visitors have been enjoying access to its grand 

rooms, fascinating domestic spaces and glorious gardens ever since. 

For anyone with even a passing interest in history, art, 

architecture, design or gardening (or like me is just a bit nosy) – do 

pay a visit, and do pick up a copy of stunning new tome Olveston: 

Portrait of a Home by Jane Ussher and John Walsh (from whence the 

incredible photos and captivating copy in this issue of 03 came). 

Elsewhere, I catch up with living musical legend Sir Dave 

Dobbyn for a chat about his upcoming South Island gigs (including 

headlining The Bandquet, which promises to be a gorgeous summer 

day out in Hanmer on March 28), Debbie Porteous’ convo with 

Dunners-based specialty coffee guru Jason Moore will have you 

craving exceptional beans, Kim Dungey looks at an award-winning, 

nostalgia-inducing Wānaka new-build and Tia Barrett offers 

insight into the creative and curatorial talents of Ōtautahi artist/ 

historian Dr Ereni Pūtere. 

And of course, for our foodie fans, this month the delightful Anna 

Cameron of Just a Mum’s Kitchen renown shares recipes for an 

addictive baked cheese dip, gourmet crackers, the ultimate pot roast 

and a heavenly sticky date pud with lashings of butterscotch sauce. 

Enjoy! 

PUBLISHER 

Charlotte Smith-Smulders 

Allied Media 

Level 1, 359 Lincoln Road, Christchurch 

03 379 7100 

Editor 

Josie Steenhart 

josie@alliedmedia.co.nz 

DESIGNers 

Annabelle Rose, Hannah Mahon 

proofreader 

Mitch Marks 

account executive 

Janine Oldfield 

027 654 5367 

janine@alliedmedia.co.nz 

CONTRIBUTORS 

Abbie Melle, Alex Lovell-Smith, Anna Cameron, Biddi 

Rowley, Debbie Porteous, Gerard O’Brien, Jade 

Cavalcante, Jane Ussher, John Walsh, Kim Dungey, 

Melanie Jenkins, Sophie Bayly, Tia Barrett, Tom Grut 

Every month, 03 (ISSN 2816-0711) shares the latest in lifestyle, home, 

food, fashion, beauty, arts and culture with its discerning readers. 

Enjoy 03 online (ISSN 2816-072X) at 03magazine.co.nz 

Allied Media 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 Media or its editorial contributors. 

Every effort is made to ensure the accuracy of the information within this magazine, however, 

Allied Media can accept no liability for the accuracy of all the information. 

Josie Steenhart, editor 

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8 Magazine | Contents 

In this issue 

20 

cover feature 

24 Portrait of a home 

Inside Dunedin’s historic Olveston House 

Resene 

Staccato 

Colours of 

the month 

ArtS & culture 

32 Welcome back 

Sir Dave Dobbyn is hitting the 

road with his favourite selection 

of songs 

34 Back in print 

The godmother of Dunedin 

fashion shares a look at 

NOM*d’s new collection and 

her favourite lit picks 

36 Coffee news 

Dunedin’s Jason Moore talks 

about the business behind the 

beans and machines 

58 Weaving treasure 

Dr Ereni Pūtere’s new 

exhibition at CoCA is inspired 

by the taoka of Māori weavers 

62 Musical magic 

What’s new at Aotearoa’s 

longest-running classical 

music festival 

FOOD 

50 From a mum’s kitchen 

Anna Cameron’s debut 

cookbook is a love letter to 

her followers and family

Telling Stories: 

Narrative That Matters in Marketing 

I recently came upon a work by 

Morgan Housel, author of Same 

as Ever. This small book looks 

at what remains unchanged in 

an ever-changing world, and he 

wrote the following: “I’ve noticed 

we live in a world where people 

are bored, impatient, emotional 

and need complicated things 

distilled into easy-to-grasp 

scenes.” And I agree. Housel then 

went on to state that it’s his belief 

“the best story wins.” 

People don’t want a lecture; they want 

a story. So much so that sometimes 

the story has become more important 

than its accuracy or context. There 

are so many conclusions I could draw 

from this, but the one I’ll stick with is 

considering the marketing or stories that 

provide a platform for real estate sales. I 

was told early in my career that people 

respond to the ‘sizzle not the steak’ and 

although it sounds old-fashioned, the 

best marketers would insist there’s an 

element of truth to it. 

There’s an art to storytelling and it’s easy 

to understand why. 

History has provided some outstanding 

storytellers; men and women who, 

through strength of personality, 

great timing and magnetic voices or 

extraordinary penmanship, could move 

others to tears, joy, victory and – for the 

sake of our story – purchase. 

I love a great story and have the 

beautiful fortune of living with a 

husband who delights in telling a good 

story, and I’ve learnt to appreciate that 

very special quality. 

I also belong to a profession where 

stories – good, bad, indifferent, 

spectacular or sometimes stretched out 

of shape – are utilised to ignite interest 

in a property. 

It can be hard to find marketing, however, 

which hits the mark beautifully. It’s 

often awash with so many superlatives 

or alliteration that it becomes silly, it's 

exaggerated to the point of puffery or it’s 

full of hard facts and dull. 

One of the keys to getting the balance of 

narrative and facts right is the translation 

of features into real-life benefits. That is, 

the story can identify features that solve 

problems or create opportunities. 

These items needn’t be minimised by 

realtors. To a couple downsizing from 

a two-storey home, for example, the 

prospect of a single storey or at least 

a downstairs bedroom stands out like 

a beacon, and they don’t want to read 

through a screed of other information to 

get to this. 

Likewise, the picture that is drawn when 

you tell a story of children being able to 

pitch tents in the backyard or play cricket. 

Or people looking at townhouses or units 

and lighting up when there’s mention 

of garaging or off-street parking. These 

features make everything more real and 

equally more desirable. 

Emotions move people: the right stories 

reach out to different buyer groups or 

demographics and capture interest. 

When that interest is ignited, it will often 

progress to a response, and I’ve seen 

incredible responses – especially in 

auction rooms. 

So, know your client, buyer, or customer, 

light a fire with a story-based campaign, 

not a sheet full of statistics and see 

where it leads. 

On the flipside, buyers will sometimes 

overlook the answers to even the most 

important questions because they don't 

like or understand the way the answers 

are put to them – or simply because 

they contradict an exceptional story 

that they’re emotionally committed to. 

In this case you will truly know that it's 

the best story that wins. 

And with that I’ll end my own story and 

wish you well as you continue your way 

through spring. 

Lynette McFadden 

Harcourts gold Business Owner 

027 432 0447 

lynette.mcfadden@harcourtsgold.co.nz 

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10 Magazine | Contents 

50 44 

Our cover 

The drawing room at 

Dunedin’s Olveston Historic 

Home. Image from Olveston: 

Portrait of a Home by Jane 

Ussher & John Walsh. 

Photo: Jane Ussher 

Resene 

Light Fantastic 

Read us online 

Resene 

Westminster 

HEALTH & BEAUTY 

22 Top shelf 

The potions and lotions we’re testing 

and loving 

HOME 

20 Most wanted 

What the 03 team are coveting 

this month 

40 A cosy homecoming 

A much-loved southern sheepskin co. 

returns to its Canterbury roots 

ARCHITECTURE 

44 New nostalgia 

History meets modern love in a charming 

Wānaka home 

regulars 

12 Newsfeed 

What’s up, in, chat-worthy, cool, 

covetable and compelling right now 

64 Book club 

Great reads to please even the 

pickiest of bookworms 

find us on Social 

03magazine.co.nz | @03_magazine 

Get a copy 

Want 03 Magazine delivered straight 

to your mailbox? Contact: 

charlotte@alliedmedia.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. 

Seek the taniwha 

Running to February 15, 2026 at Christchurch Art Gallery, must-visit exhibition Whāia 

te Taniwha offers a window into the rich narratives of taniwha that tāngata whenua 

have held for generations. “This exhibition celebrates the diversity of taniwha,” says 

co-curator Chloe Cull. “They are shapeshifters, oceanic guides, leaders, adversaries, 

guardians and tricksters who have left their marks on the Aotearoa landscape.” The 

exhibition includes new major commissions from renowned artists such as Lisa 

Reihana and Maungarongo Te Kawa, and new work by Ngāi Tahu creatives Jennifer 

Rendall, Fran Spencer, Kommi Tamati-Elliffe, Turumeke Harrington, Piri Cowie and 

Madison Kelly. These new works will be shown alongside existing works on loan to 

the Gallery. “With the bulk of the exhibition comprising new commissions and loans, 

it’ll be the first opportunity to see many of these works in Christchurch,” says Chloe. 

christchurchartgallery.org.nz 

Lisa Reihana ‘Marakihau’, 2001. Colour photograph (dye, photographic gelatin, resincoated 

paper, aluminium). Collection of the Museum of New Zealand Te Papa Tongarewa, 

purchased 2002 

More care, less waste 

Perpetual by Sans [ceuticals] is the world’s first fully 

waterless, 100% recyclable, zero waste hair and 

body care range, merging eco-conscious design with 

uncompromising product performance. Perpetual 

launches with three high-performance hair products 

housed in sculptural, refillable canisters designed to 

elevate daily rituals and integrate seamlessly into modern 

interiors. “Sans was born out of a desire to solve a 

problem – since the launch of our first product, the cultfavourite 

Activator 7 Oil, we’ve remained committed to 

continuous innovation, consistently pushing boundaries 

to drive the beauty industry forward,” says founder Lucy 

Vincent. “The development of Perpetual spanned more 

than seven years. Our intention was never to create 

just another product line; rather, we sought to redefine 

the entire category. Perpetual is the result of years of 

innovation, rethinking beauty from the ground up.” 

sansceuticals.com 

Southern style 

Great news for local fashion fans: in partnership 

with the city of Christchurch, New Zealand Fashion 

Week is bringing a bespoke edition of the biggest 

official fashion event to the South Island for the 

first time. From November 7–9, Ōtautahi will host 

a large-scale spring/summer runway show, popup 

retail activations and the Beyond the Runway 

speaker series, celebrating both iconic and emerging 

designers from across Aotearoa. “We’re thrilled 

to bring the spirit of New Zealand Fashion Week 

to Ōtautahi,” says NZFW owner Feroz Ali. “This 

partnership marks a bold new chapter – not just for 

NZFW, but for fashion in Aotearoa. Christchurch 

is a city that knows how to push boundaries and 

celebrate creativity with quiet confidence. We’re 

proud to co-create an event that reflects the city’s 

unique style, innovation and cultural richness.” 

nzfashionweek.com

DUBARRY OF IRELAND 

Achieve effortless summer style 

with a pair of Dubarry deck shoes. 

Whether you call them your 

fallback, your go-to, or your 

Hello yellow 

trusted companion, we’re sure 

Combining Don Driver’s ‘Yellow Tentacle Pram’ (1980) 

and ‘Periphery’ (2013–15) they’ll by be artist going Seung everywhere Yul Oh, with 

ririkiRARAHI/littleBIG brings you together for many two years celebrated to come. 

works from the Dunedin Public Art Gallery’s collection 

to create space for 

Pictured 

joy, wonder 

is 

and 

the 

play. 

Tasmania 

Echoing one 

Loafer, 

another in colour and the form, perfect ‘Yellow shoe Tentacle to dress Pram’ up with 

invites audiences to tailored consider the summer sculptural outfits potential or dress 

of found materials, while ‘Periphery’ asks audiences 

to move through and down get for lost effortless in a forest of everyday 40 yellow wear. 

inflatables. Runs to October 12, 2025. 

dunedin.art.museum Available exclusively from 

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Tasmania Slip On Loafer - Taupe


Party ponies 

Beloved local leatherware brand Deadly Ponies is 

celebrating 20 years in signature style this month, 

not only looking back on milestones and special 

moments, but forward to the future. To honour 

the big birthday, Deadly Ponies has created a special 

series of 20 photographs, each capturing a defining 

moment from the past two decades. Alongside this 

visual tribute, they’re looking ahead with bold new 

designs, limited-edition collaborations and an everevolving 

design language that continues to shape the 

New Zealand aesthetic and beyond. “This next chapter 

is about expanding what we do, while refining what 

we’re known for,” says creative director Liam Bowden. 

“We’re not interested in growing for the sake of it. 

It’s about going deeper, not wider. Everything from 

creative to operations feels more considered, more 

confident, more defined, and we want that to come 

through in product, and in our brand experience.” 

deadlyponies.com 

Book it in 

Across three days this month (October 17–19), 

Dunedin will hum with conversation, literature 

and ideas, as established authors and exciting 

new voices from across Aotearoa arrive for 

the Dunedin Writers & Readers Festival. “This 

year’s theme is ‘Ahi Kā’ – keeping the home fires 

burning – celebrating who we are, where we 

are, and the power of stories to nourish and 

connect communities,” says festival co-director 

Jen Stokes. The exceptional 2025 lineup includes 

celebrated poets, writers and artists including 

Catherine Chidgey, Tāme Iti, Peta Mathias, Liam 

McIlvanney, Ben Stenbeck and Tina Makereti 

appearing live in conversation, plus a host of 

local legends (some returning to their home 

ground) such as Emma Neale, Duncan Sarkies, 

David Eggleton, Laurence Fearnley (pictured) and 

newly honoured poet laureate Robert Sullivan. 

dunedinwritersfestival.co.nz 

Nacho average corn chip 

Hear us out… nachos for dessert – but done 

the Proper way. Inspired by the authentic 

Mexican delight, buñuelos, these festive, 

flavour-packed Sweet Cinnamon tortilla chips 

from Nelson-based Proper Crisps bring the 

perfect balance of warmth, sweetness and 

spice. To help celebrate their release (available 

in supermarkets from mid-October), chef 

Carlos Rodriguez from Christchurch’s Xolo 

Taqueria has created his own take, with a 

Proper Dessert Nachos recipe – a deliciously 

playful twist that transforms the tortilla chips 

into a show-stopping finale. Even better, Xolo 

will be serving up Proper Dessert Nachos for 

a limited time from October 18–31. 

propercrisps.com / xolo.co.nz

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Going solo 

An absolute icon of the Dunedin – 

and New Zealand – music scenes 

and the subject of Margaret Gordon’s 

must-catch new documentary Life 

in One Chord, the award-winning 

songwriter, author and musician 

Shayne P. Carter (Bored Games, The 

DoubleHappys, Straitjacket Fits and 

Dimmer) is returning to the road for 

a plethora of solo South Island gigs 

this month, warming up in Blenheim 

on October 10, then two Lyttelton 

shows on October 11, Ōamaru 

October 12, Invercargill October 14 

and Hokitika October 17. 

undertheradar.co.nz 

Spice up your life 

From one of our favourite Kiwi purveyors 

of hot sauce comes a spicy new collection 

of seasonings. Seven months in the making 

with the aim of honouring and showcasing 

both traditional flavours and those unique to 

Aotearoa, adventurous foodies can choose 

from Kawakawa & Feijoa Za’atar (serve 

with olive oil and your favourite bread), 

Orange & Horopito Shichimi (a unique take 

on the Japanese spice blend), Chaat Masala 

(try it on hot chips, you’re welcome) and 

Red Wine & Plum Herb Salt (think pink 

Himalayan rock salt in organic Hawke’s Bay 

pinot noir and Black Doris plum). 

apostlehotsauce.co.nz 

Good art 

The much-loved Peninsula Art Auction returns this November, 

celebrating 20 years as one of Lyttelton’s most enduring and 

successful community fundraisers. Run biennially, the auction has 

become a cornerstone of local culture, celebrating the work of artists 

from across Banks Peninsula while raising an estimated $500,000 for 

Lyttelton tamariki since its inception. What began as a grassroots 

fundraiser, with Bill Hammond as the first artist to donate work, 

quickly grew into a much-loved event with all three local primary 

schools involved. This year promises to be the biggest and best yet, 

with a mix of established and emerging artists with connections to 

Banks Peninsula – Bill Hammond (pictured, ‘Untitled 2’), Jason Greig, 

Nichola Shanley, Hannah Beehre, Mark Whyte, Ben Reid, Delaney 

Davidson, Dan Summers, Marie Le Lievre, Stephanie Crisp and more. 

peninsula-art.co.nz

Wanting more? 

We have all asked ourselves this question at some 

point. Just like the sculpture itself, the answer can 

be elusive and ever-changing. More? was created 

to invite you to pause, interact, and see what you 

discover. Pearce’s characters and animals are 

crafted to interact with their environment and 

the viewers’ movement, creating a playful yet 

thoughtful visual experience. 

View more? at Windsor Gallery during November. 

For other characters and fine art, visit 

Little River Gallery and Parker Gallery. 

pearcemalcolm.com


Tami time 

Tami Neilson fans, can we get a yee-haw?! Our 

favourite international country star is heading 

out on a homecoming concert tour this month, 

fresh from her US performances at the Outlaw 

Festival Series with Willie Nelson & Family, Bob 

Dylan and shows in France, Belgium and The 

Netherlands. Tami’s Neon Cowgirl tour will stop 

in to Christchurch on October 11 and Nelson 

October 12, with the beloved songstress 

covering tracks both from her new album of the 

same name and faves from across her career. 

tamineilson.com 

Kushana Bush, 

‘The Covered 

Hours’, 2016. 

Gouache and 

pencil on paper. 

Private collection. 

Natural resources 

Elm Lab, a new premium skincare brand founded 

by sixth-generation Otago farmers Sarah 

and Will Kirkland, has launched with a debut 

collection centred around one of nature’s most 

remarkable early-life resources: A2 colostrum. 

Designed with families in mind, Elm Lab pairs 

gentle formulations with a science-informed, 

provenance-first philosophy, delivering skincare 

that supports hydration and comfort for delicate, 

dry or reactive skin. Sarah says Elm Lab was 

inspired by both her personal experience as a 

mother and her husband’s family farming legacy. 

“When I became a mother, I realised how limited 

the options were for skincare that was both 

gentle and credible. I wanted something safe for 

babies, effective for mothers, and designed with 

the same care we bring to farming at Elm Grove. 

Knowing the extraordinary role colostrum plays 

in early life, we chose to harness this natural 

wonder to share its skin conditioning benefits 

more widely.” 

elmlabskincare.com 

When medieval met modern 

The art, stories, and histories of the Middle Ages conjure 

imaginative medieval realms where fantasy fuses with 

memory and experience. Paradise of Imagination: Medieval & 

Modern Encounters, now on at Dunedin Public Art Gallery to 

February 8, 2026, invites us to consider the vibrant cultural 

legacies of the Middle Ages expressed and shaped through 

artists’ hands. Such legacies draw on illuminated manuscript 

traditions, including books of hours and bestiaries, where 

gold leaf embellishes images of creatures, benign and sinister. 

In this exhibition, stained glass designs and architectural forms 

and references capture allegorical themes, the intricacies of 

heritage, and rituals, secular and sacred. These elements can 

be found in work by artists as diverse and unique as Kushana 

Bush, Edward Burne-Jones, Lonnie Hutchinson, Marilynn 

Webb, Roger Mortimer and George Dunlop. 

dunedin.art.museum

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20 Magazine | Wishlist 

Most wanted 

From rose-hued hiking shoes, petal-covered diaries, painterly tote bags 

and sparkly tees to dreamy skin mists, Nelson-made sweet cinnamon corn 

chips and a covetable gold record, here’s what we’re wishlisting this month. 

1 

2 

4 

3 

14 

5 

13 

6 

12 

7 

8 

11 

10 

9 

1. THEIA Girl, In A Savage World metallic gold vinyl LP, $59 preorder at Flying Out; 2. Raaie Tranquillity Water Activating Mist, $139; 

3. Snelling Studio Hour Rho wall light in Dawn Green, $2800; 4. Nuxe Very Rose plumping lip serum, $55 at Sephora; 

5. Valerie Stivers, The Writer’s Table: Famous authors and their favourite recipes, illustrated by Katie Tomlinson, Allen & Unwin, 

$45; 6. Jasmin Sparrow Midnight black onyx and sterling silver earrings, $450; 7. Kip & Co Fruits De Mer small oval platter, $99 

at Superette; 8. Harriet Millar ‘Blossoms, Hagley Park’ tote bag, edition of 100, $42 at Little River Gallery; 9. Second Nature 

Strawberries & Cream protein powder, $54; 10. Teva Hurricane Daybreaker hiking shoes in Deep Mahogany/Rose Smoke, $300; 

11. Juliette Hogan x Father Rabbit 2026 weekly diary in Petal Parade, $55; 12. Curate by Trelise Cooper Sparkle Magic t-shirt in 

Navy, $187 at Zebrano; 13. Proper Crisps Sweet Cinnamon tortilla chips, $5.60; 14. Saben Peyton sunglasses in Tortoise, $249

CUP WEEK EDIT 

Elegance on Track 

4 Normans Road, Strowan 

MON-FRI 10-5 SAT 9.30-4.30 briarwood.co.nz

22 Magazine | Health + Beauty 

Top shelf 

From salted mango electrolytes, watermelon and basil lip masks and vanilla 

gelato hair jelly to a plant-based skin polish made in Christchurch, a hydrating 

hair oil from innovation experts Dyson and a new nude natural lippie hue from 

Kiwi lipstick queen Karen Murrell, here’s what the 03 team are currently testing. 

2 

1 

3 

4 

5 

6 

12 

9 

7 

10 

8 

11 

1. Tangle Teezer Extra Gentle detangling hairbrush, $30; 2. Kylie Cosmetics Glossy lip kit in Comes Naturally, $60 at Mecca; 

3. Karen Murrell natural lipstick in 38 Nicely Nude, $35; 4. Natural Zest Divine Facial Polish exfoliator, $55; 5. Coola Firming SPF30 face oil, $120; 

6. Daeli Hydration sugar-free electrolytes 21 x 6g sachets in Salted Mango, $65; 7. Evolve Organic Beauty Bio-Retinol body oil in Wild Divine, $79; 

8. Nomu Premium matcha 40g tin, $39; 9. Dyson Omega hydrating hair oil, $95; 10. Mario Badescu Watermelon and Basil lip mask, $27 at Mecca; 

11. Umberto Giannini Curl Jelly Scrunching Jelly in limited edition Vanilla Gelato, $25; 12. Aestura Atobarrier365 cream 80ml, $54 at Sephora

It’s only natural 

Handcrafted with care in her 

Christchurch lab, Amanda 

Grindrod’s wellness-led skincare 

brand Natural Zest may be 

small-batch but is already 

making big waves, taking out 11 

international awards this year. 

INTERVIEW Josie Steenhart 

Amanda, what was the inspiration/motivation for 

launching Natural Zest? 

Natural Zest was born from my own struggles with 

dry, sensitive skin. As a registered nurse, I wanted to 

learn more about the ingredients I was putting on 

my skin. I studied and gained diplomas in Organic 

Skincare Formulation and Aromatherapy to further 

my knowledge. I began to experiment with making 

products from natural ingredients which I trialled on 

myself, friends and fellow nurses. I never set out to 

build a business, but the feedback was so encouraging. 

People kept telling me how good their skin felt and 

started asking to buy the products. That’s when I 

thought – maybe this is something worth sharing. 

What sets it apart from other skincare brands? 

As a nurse, my focus has always been on skin health 

rather than quick fixes. I believe this philosophy 

ensures our skin can age well and provides 

authenticity and intention to beauty and self-care 

regimes. The difference with Natural Zest begins 

with the main ingredients, which for most skincare 

products is water. While it’s far cheaper to formulate 

using water as the main ingredient, I wanted to create 

products where every single ingredient provided skin 

benefits. Because of this, I only use pure, potent plant 

oils and hydrosols as main ingredients, which are truly 

amazing for hydrating, balancing and calming the skin. 

Essentially, I have created a luxury skincare brand that 

is effective and affordable. 

You’ve won a lot of awards this year… 

It’s been an incredible year. Winning 11 international 

awards – including seven at the prestigious Beauty 

Shortlist Awards, plus Gold and Silver at The Green 

Parent Awards and Gold and Bronze at the Clean + 

Conscious Awards – was such an honour. 

What makes it even more special is that these awards 

are independently judged, so the recognition is purely 

based on the quality and performance of the products. 

It’s incredibly rewarding to see my handcrafted brand 

from Christchurch celebrated on a global stage. 

Do you have favourites from the range? 

While it’s hard to choose a favourite, I’m particularly 

proud of Rejuvenate Vitamin C & Hyaluronic Acid 

Cream. It really embodies my philosophy of combining 

powerful, data-driven ingredients with natural and 

organic botanicals. The feedback from customers – how 

it’s brightened their skin and softened fine lines – makes 

it incredibly rewarding. 

I’m also especially fond of Regenerate Marine Algae Eye 

Cream, and the Divine Facial Polish, which delivers an 

instant glow and that spa-like feeling at home. 

Anything else people might be surprised to learn? 

I haven’t worn foundation for years, not because I’m 

against it, but because I’ve focused on nourishing my skin, 

so it feels and looks good without it. I truly hope more 

people feel empowered to care for their skin naturally, 

to be curious about their skincare ingredients, and to 

embrace ageing gracefully. While we may have some 

blemishes and imperfections, I truly believe that healthy 

skin is beautiful. 

Where can we find Natural Zest? 

Online at naturalzestskincare.com, and in Christchurch at 

The Apothecary at The Tannery and Piko Wholefoods.

Feature | Magazine 25 

Portrait of a home 

More than 120 years since its inception, Olveston House – built for and lived in by 

the Theomin family until 1966 when it was bequeathed to the city of Dunedin and 

opened to the public as a museum – is showcased within the pages of a stunning 

new book by architecture expert John Walsh and photographer Jane Ussher. 

PHOTOS Jane Ussher 

Jane, this book was sparked by your beautiful 2022 

book, Rooms: Portraits of remarkable New Zealand 

interiors, also in partnership with John… 

Jane: My idea for Rooms was to photograph a variety of 

inspiring spaces that would acknowledge the depth and 

intelligence of New Zealand home owners and the way 

they curated the spaces they lived in. 

One of the first houses I visited was Olveston, which 

is a perfect example of just that. The Theomins were 

avid collectors with an adventurous and enquiring 

eye, and they curated an extraordinary house full of 

interesting and often exotic objects and art. 

The images I took of Olveston in 2022 left a lasting 

impression on me so when the opportunity arose to go 

back and document the house I leapt at it. 

Apart from your famous assignment to photograph 

Scott and Shackleton’s Antarctic huts, have you ever 

spent as much time documenting one house? What 

was the joy of this job? 

Jane: It is a great gift to be given unlimited time and 

access to really study a space, and Olveston was the first 

time since my earlier work documenting the historic 

huts that I had been given that opportunity. 

The photography was spread over two trips and many 

days, so I not only had the time but was also able to revisit 

the house in two different seasons and see it in different 

light. I could also critically look at the early photography 

and see ways of adding or improving the images. This was 

essential as there was so much to see, and the break in 

the work added immeasurably to the success. 

It must have been almost overwhelming entering each 

room and seeing just how much there was to capture, 

given the Theomins’ huge collection of paintings, 

furniture, ceramics, books and more. How did you 

plan each shoot and what were the challenges? 

Jane: I approached this book as I’ve approached most 

other assignments. My preference is to have a clear 

idea at the start as to how the finished book will 

look and in this case my publisher Nicola Legat and I 

mapped out a rough idea of how it would flow. 

This meant spending a lot of time in each room and 

deciding how to photograph the space and then working 

back from there. It also involved choosing details and 

complementary images as in a lot of cases two images 

faced and supported each other. 

The challenges were the lack of available light but also 

trying to introduce some of the tungsten light from the 

beautiful light fixtures. This was time consuming – and often 

amusing – as many inventive solutions were called for. 

Do you have a favourite room? 

Jane: That’s a hard question as the house reads as a 

whole but the billiard room and the little card room off it 

were magic. One of the things that struck me about the 

house in general was its bold use of colour and texture. 

It’s easy to become bewitched by what’s inside 

Olveston and to perhaps pay less attention to the 

architecture of the house that contains it all. You give 

the architect, Sir Ernest George, detailed coverage. 

Tell us about him and this house. 

John: At the turn of the 20th century, Ernest George was 

probably the leading, or at least most prestigious, English 

house architect. Which, no doubt, is why David Theomin 

commissioned him to design Olveston. 

In 1903–04, when he designed Olveston, George was 

in his sixties but still going strong. He was the architect 

of some very ornate townhouses in London, but his 

specialty was designing large country houses for newly 

rich families. 

George understood his clients. He knew they wanted 

houses that, while having all modern conveniences, 

looked like they had been on their sites since Elizabethan 

or Jacobean times. The English could be snobby about 

wealth derived from manufacturing or commerce. 

George’s architecture gave recent fortunes a back story. 

He was a very competent spatial planner, and also 

a full-service architect. Besides designing a house, he 

would specify and source the fittings, furniture and even 

artwork to go into it.

George brought all his experience, sensibility and 

characteristic architectural traits to the design of 

Olveston, which was one of the few buildings he 

designed outside of England. (George never visited 

Dunedin – local architecture firm Mason & Wales 

supervised the construction of Olveston.) 

Although not as big as George’s English country 

houses, Olveston is similar in scale to some 

townhouses he designed in London’s Kensington 

district, and was large enough to accommodate 

live-in servants as well as the Theomin family. 

Olveston is distinguished by the Flemish gables on 

its more visible east and south sides, but also has 

Tudor-style battlements and chimneys and even a 

Venetian-style loggia at the rear. 

There are so many grace notes at Olveston, all 

cleverly handled. What’s one that particularly 

struck you? 

John: The oriel window that projects from the 

house’s south side is pretty cute. On the east or 

front facade, name stones set in the Flemish gables 

are inscribed with David and Marie Theomin’s 

initials. A typical Ernest George detail on the 

same facade is the finely wrought rainwater head 

inscribed with the date – 1904 – of the house’s 

inception. Inside, on the upper level, the Orientalist 

card room is a whimsical annex off the predictably 

masculine billiards room. A little window in the card 

room peeps discreetly down into the Great Hall. 

To think about Olveston is to immerse oneself 

in Edwardian Dunedin. What sort of place was it 

in 1907, when the house was completed and the 

family moved in? 

John: It was, for some, a Golden Age in the history 

of the city. Not for everyone, of course. Life 

wasn’t easy in the working class flatlands of South 

Dunedin, nor for Māori who had managed to cling 

on to some of their land on the Otago Peninsula. 

But times were good for affluent families, like the 

Theomins, who entertained lavishly in their grand 

houses on elevated streets such as Royal Terrace 

and Herriot Row. 

Dunedin had built upon the platform of the 

1860s gold rush to become New Zealand’s 

leading financial and manufacturing centre. 

By 1907, the city was slipping inexorably 

down the demographic table – Auckland and 

Christchurch were more populous, Wellington 

soon would be – but Dunedin was still the 

home of many of the country’s best-known 

companies. For example, the Union Steamship 

Company, Hallensteins, Wright Stephensons, 

Kempthorne Prosser, the Rosslyn and Mosgiel 

woollen mills and David Theomin’s own 

Dresden Piano Company were all based there. 

Dunedin had a strong civic and provincial 

identity. Not surprisingly, given the 

Presbyterian flavour of its settlement, it could 

be quite moralistic – understandably, when it 

came to the endemic New Zealand problem 

of alcoholism. 

Edwardian Dunedin had a lot to be proud 

of: New Zealand’s first university and only 

medical school; two good public high schools 

– Otago Boys and Otago Girls; a busy port; 

a new railway station – New Zealand’s finest; 

the country’s first electric tram service; three 

daily newspapers; numerous cultural and 

sporting organisations; a growing although 

cautious trade union movement; at least 

one church for every imaginable Christian 

denomination, plus a synagogue in which 

David Theomin was a senior office-holder. 

And architecture – Dunedin had New 

Zealand’s best collection of substantial 

masonry buildings (many of them still 

standing). There was one other thing as 

well – a strong philanthropic impulse. 

Wealthy families, especially the city’s tightknit 

community of Jewish mercantile families, 

were generous supporters of a wide range 

of charitable causes. They obviously believed 

privilege came with obligations. 

Most interesting discovery about the house? 

Jane: Being in the house is such an impressive 

and immersive experience. Just when you 

thought there was nothing left to surprise 

you another drawer was opened and another 

treasure exposed. 

“Being in the house is such an impressive and immersive experience. Just 

when you thought there was nothing left to surprise you another drawer 

was opened and another treasure exposed.”

THE DRAWING ROOM 

Primarily Marie Theomin’s entertaining domain, this elegant room is notable for its 

large collection of watercolours – many by significant British artists and two by family 

friend Frances Hodgkins – its cabinets of precious porcelain and silverware, its rugs and 

its Steinway, given to Dorothy for her 18th birthday and which is still in regular use. 

A vitrine holds small treasures from the Theomins’ travels, including jewellery from 

the Middle East and a set of 18 scallop shells, each smaller than the next. 

The room was well set up for afternoon teas and after-dinner gatherings, with a side 

table and a footrest alongside every chair. Servants could see whose teacup required 

replenishment by looking in the convex mirror. 

During the day a soft light flooded the windows and at night the collection of 

chandeliers and lamps gave a warm glow.

THE GREAT HALL 

A spectacular room by any reckoning, 

the Great Hall, with its upper gallery, was 

modelled on similar rooms Ernest George 

created in his grand British country houses, 

albeit on a smaller scale. The massive southfacing 

windows convey a baronial air but the 

room is uniquely intimate and welcoming. 

Striking features of the room are the bold 

acanthus-patterned hessian wall covering 

and plush-piled Turkish floor rug. The Great 

Hall is filled with the ceramics, brassware 

sculpture and other treasures collected by 

the Theomins in Europe and Asia, and major 

artworks acquired over time. These include 

works by leading British painters and one by 

Charles Goldie. 

The Great Hall was the location of many 

parties and receptions, including Dorothy 

Theomin’s 19th-birthday festivities in 1907, 

held not long after the family moved in. 

The gramophone near the massive 

staircase signals that by the 1930s the 

musical entertainment in this very musical 

family was provided by gramophone records.

Feature | Magazine 29

THE BILLIARD ROOM 

This grand first-floor room with its rich red walls 

was a focus of after-dinner socialising at Olveston 

and has an East-meets-West aesthetic that must have 

fascinated guests. Its centrepiece is the Olympic-size 

billiard table, made by Burroughes & Watts Ltd of 

London, but mahjong could also be played in the 

nook created by the bay window and in the adjacent 

card room, whose furnishings must have taken the 

Theomins back to the time they spent in Morocco 

and Egypt. In staid 1907 Dunedin, this exotic 

approach to decor must have created quite a stir. 

The family’s interest in Japan is evident here in 

the two large carved cabinets filled with delicate 

cloisonné, ivory and jade objects and the attentiongrabbing 

carved furniture. 

The sense of a male club overlays all this: the 

framed cartoons and paintings of dogs and the 

retractable ceiling to let cigar smoke drift up and 

away mark this out as a masculine place. Dorothy, 

though, spent a great deal of time in the card room, 

using it as a more intimate sitting space.

Olveston: Portrait of a Home, 

Jane Ussher & John Walsh, 

Massey University Press, $85. 

THE DINING ROOM 

This glorious room has been the scene of many dinners with 

the good and the great. In David and Marie Theomin’s era 

entertaining at home was a fine art and it was here that they 

used their wide networks to cultivate both business, social and 

cultural interests. 

After being called in to dinner from either the Great Hall or 

the drawing room, 18 guests could sit around the table when 

its leaves were fully extended. They would no doubt have 

been dazzled by the Wedgwood dinner service, the Murano 

glass table ornaments and the Baccarat bowls that held 

arrangements of flowers, and been appreciative of the butler 

as he carved the roast at the tall buffet and poured them wine. 

The dark papered walls and oak panelling are the backdrop 

to some important paintings.

32 Magazine | Feature 

Welcome back 

One of Aotearoa’s most celebrated singer/songwriters 

for more than 45 years, Sir Dave Dobbyn returns to his 

slice of heaven (the South Island) this spring/summer. 


PHOTO Tom Grut 

Sir Dave, the name of your tour is ‘Selected 

Songs’ – care to elaborate? What can 

audiences expect? 

I’ve selected songs that I haven’t played a lot live. 

They are deeper cuts from a number of albums. 

I just wanted to air songs that I think people will 

appreciate in these divisive times. Love songs 

heal wounds by helping to raise emotions and 

share them. 

You can expect great musicianship from my 

eight-piece band and a night you won’t forget. 

On the subject of selecting songs, do you 

have a favourite song? 

‘Welcome Home’ is a favourite for a lot of fans. 

It’s a favourite of mine because of its origin as a 

protest song. 

And yes it is 20 years old this year… That 

went fast. The song has only grown over 20 

years. I guess everybody likes to feel welcome. 

Your Christchurch and Dunedin gigs are both 

at the Town Halls – you must have performed 

at each few times? 

My first gig at Christchurch Town Hall was quite 

fraught. The singer ran on stage and fell over. 

And the stand-in bass player had overdosed 

on laxatives and so kept running off stage. The 

whole show was televised and archived. I’m 

too afraid to review it. I’ll have a look on the 

AudioCulture archive or NZ On Screen. 

As for Dunedin Town Hall, I think I played 

there with ENZSO in 1996. Town halls are 

really fun to play as their acoustics are really 

lively. The trick is to play way quieter than you 

think so the PA and drummer can be in balance 

with the room. That way you get a much better 

sound dynamic and a happier audience. 

As you’re finishing up the tour 

here in the south, will you have 

any time to stay on? 

Only enough time this time out 

to see some family and then keep 

busy up north for summer. But 

I would love to catch up with 

southern friends soon. 

What are some of your favourite 

spots in the South Island? 

We’ll take the whole of Te 

Waipounamu thanks, and I’m sure 

it takes a lifetime to explore. As long 

as the tangata whenua will have us, 

we’ll keep coming with bells on. 

And then in March next year you’re 

headlining The Bandquet festival 

in Hanmer Springs – tell us a bit 

about that? Have you performed in 

Hanmer Springs before? 

Yes, very much looking forward to 

The Bandquet gig. I have only faint 

memories of Hanmer Springs and 

I’m sure we’ll test the waters. The 

festival looks like a friendly one and 

we’ll be rocking. 

Any other plans for the coming 

warmer weather? 

Surfcasting at Mangawhai Heads. 

The smell of smoked kahawai and 

snapper fillets fills the kitchen at 

our family bach/crib. 

We have more gigs late summer 

but will tell you about those a 

little later. 

Selected Songs tour: Dunedin Town Hall, November 7, and Christchurch James 

Hay Theatre, November 9, 2025. The Bandquet: Hanmer Springs, March 28, 2026. 

livenation.co.nz / thefeastival.co.nz

34 Magazine | Fashion 

Back in print 

Margarita Robertson, 

godmother of Dunedin fashion, 

lets us in on her much-loved 

label NOM*d’s captivating 

new collection, the magic of 

local bookstores and her alltime 

favourite novel. 


PHOTO Alex Lovell-Smith 

Margi, what inspired/informed your latest 

collection, ‘Bibliotheca’? 

We are always continuing the story of NOM*d, 

it’s a never-ending tale. We love referencing 

literature and art, looking at the past and the 

unknown future. 

Tell us about a few key styles/pieces… 

The mash-up of prints which is a trademark of 

each collection, is represented in the Janus Dress – 

either side has a different view, the wearer can take 

on the persona that suits for the day or night. 

Our Archive knits have become a must for 

each season – so easy to wear and represented 

in three unique NOM*d prints, long sleeved or 

short sleeved. 

Dresses are easy fit, again each of our prints are 

represented along with a Sparkle Darkest Navy 

crepe that touches on a starry night. 

As always there are some captivating prints – 

Three Sisters, Scifi, Perseus and Patched… 

The prints are based on a journey through a library, 

a blend of myths and legends, both classical and 

futuristic. Referencing old editions of magazines like 

FMR gives us lots of print inspiration and speaks to 

the colours and textures we choose for the season. 

Anything else people might be interested to learn about 

this collection? 

The campaign was shot by Matt Hurley, an Auckland-based 

photographer, who is a master of light, texture and angles. He 

has worked on our last three campaigns. 

Is it a local bookstore where those amazing pics in the 

lookbook are shot? 

There are so many amazing bookstores in Dunedin, a dig 

when you’re in town is a must. 

The owner of this particular store wanted to remain anonymous 

for fear of being overrun with influencers taking pictures. 

For our Dunedin-based lookbook shoot we worked with 

Alex Lovell-Smith. 

What are some books that are notable in your own life 

currently? Old favourites or in the ‘to be read’ pile? 

In my youth I spent many hours reading old Greek myths and 

magical tales. Currently I’m reading Lionel Shriver, Mania. It’s 

the second book of hers I have been given by my son. She has 

created worlds not too far in the future where old measures 

like wealth or intelligence have new meanings – fascinating and 

completely different to any other books I’ve read. 

Favourite book of all time for me is Middlesex by Jeffrey 

Eugenides, a tale of a family leaving Greece and their life in a 

new country. I often think of some of the incredible characters, 

even though I read it maybe 20 years ago!


Coffee news 

A decade after starting his own specialty coffee 

business in Dunedin, Jason Moore remains at 

the forefront of the scene, navigating rising 

costs, technological advances and shifting tastes 

with the same conviction he started with. 

WORDS Debbie Porteous 

PHOTOS Gerard O’Brien 

It’s not your average cup. It carries a definite whiff of alcohol 

– fruity, sweet – and it has a story. The beans were grown 

on a farm near Planadas, Colombia. For more than 30 days the 

cherries lay fermenting in the Colombian sun, their juice soaking 

into the beans inside until they turned more brown than green. 

A panel of specialty coffee experts scored them 86 out of 100 

before they were sealed, packed and shipped across the world 

to New Zealand. 

In Dunedin, the beans were lightly roasted in batches in 

Vanguard Specialty Coffee Co’s Probat roaster for 11 minutes. 

About an hour ago, just the right amount were ground, just 

the right way, and brewed at just the right temperature into a 

thermal carafe, from which this cup was poured. 

These are the sorts of details specialty coffee trader Jason 

Moore could happily, if he had the time, talk about for hours. It is 

both his passion and his job – a nice way for things to be, really. 

Those who know will recognise in his words the third wave of 

coffee: a movement that emerged in the 2000s and treats coffee 

like wine. It focuses on origin, variety, processing and brewing 

methods to highlight flavour rather than just a caffeine kick. 

Two decades on, rising costs and shifting tastes mean the 

specialty trade now relies on fewer but more dedicated 

customers willing to pay a premium. 

For Jason, though, money has never been the point. 

Now 41, he has been in coffee since leaving school. He 

grew up in Wellington in what he calls the “glory days” of the 

cafe scene. 

“A coffee was $3, Fat Freddy’s Drop were playing in town and 

there was a real buzz in the culture,” he recalls. 

“It was such a cool time to be in the industry and I fell in love 

with the environment and the people.” 

A curious sort, he wanted to know the why and how behind 

the unusual coffees he was tasting – where they had come from 

and what gave them their distinct flavours. 

The more he understood, the more he realised that while he 

enjoyed connecting with customers and colleagues here in New 

Zealand, it was the farmers – away in another world completely 

– who were doing the real work with coffee. 

“It just lit a fire in me.”

“Coffee is not an expensive luxury for the average person. To buy a bag, 

taste it, push yourself – I love that, and I love it when someone tries 

something different and comes back a week later and says, ‘Oh my god, 

that was incredible, I wasn’t expecting that’. That’s why I do it.”

ABOVE: Kylie Norton and friend roast beans in Vanguard’s Probat roaster. 

Moving to Dunedin in the mid-2000s, he worked 

in hospitality for years, then in 2015 started his 

own coffee business. Vanguard Specialty Coffee Co 

now runs a cafe on Princes Street and, since 2020, 

a roastery in Vogel Street that produces about 13 

tonnes of roasted coffee a year. 

While his cafe is his biggest customer, Jason has built 

a loyal following who buy Vanguard’s beans – most of 

them unique in New Zealand – over the counter or 

online. Among them are doctors, engineers, foodies 

and others who, like him, appreciate the finer things. 

To Jason, specialty coffee remains an affordable luxury. 

“Coffee is not an expensive luxury for the average 

person. To buy a bag, taste it, push yourself – I love 

that, and I love it when someone tries something 

different and comes back a week later and says, ‘Oh 

my god, that was incredible, I wasn’t expecting that’. 

That’s why I do it.” 

A coffee is considered specialty when it scores 80 

or above on a 100-point scale set by the Specialty 

Coffee Association. 

Trained experts, called Q graders, assess flavour, 

acidity and body. To qualify, beans must also be ethically 

sourced and traded and tell a “good” story. 

Jason served on the association’s board for two years. 

He sources beans from around the world, but mostly 

from Colombia through Cofinet, a small but growing 

export company run by fourth-generation Colombian 

coffee farmers who also work with neighbours and 

small-lot growers to improve practices. 

“They’re fully transparent – no middle man, no 

backroom handshakes, no dodgy trade routes. Coffee 

goes straight from the farmer, through them, to us.” 

Jason prefers small lots and avoids mechanised or 

industrial producers. He stands by the credo that quality 

is not an accident.

Feature | Magazine 39 

“We’d rather buy good coffee, support the farmers, pay a good price and tell 

the story than compromise our morals to make a buck. At the end of the 

day, I’d rather create something worth remembering.” 

“It happens because people care. They put their heart 

into it and they’re passionate about what they do.” 

He knows buying coffee most customers don’t fully 

appreciate won’t make him rich. 

“But it sits with me. We’d rather buy good coffee, 

support the farmers, pay a good price and tell the 

story than compromise our morals to make a buck. At 

the end of the day, I’d rather create something worth 

remembering.” 

Unlike many coffee businesses that rely on blends for 

bulk sales and have the odd specialty lot, Vanguard is 

entirely specialty. Jason buys nothing graded below 84. 

“When you start tasting coffee, you can really start to 

taste when quality starts to kick in,” he says. 

“The only reason people buy something of a lower 

quality is price – and that’s a slippery slope, I think.” 

Quality compromises are not worth it. 

“If we do something wrong, because we have this 

discerning customer base, if we fudge up a roast or 

grind something wrong, our customers let us know and 

I don’t want to be apologising, making mistakes. 

“When you’re starting a day off with that coffee 

at home you want a good experience. If we were to 

cheapen things, our customers would know. I couldn’t 

deal with that.” 

Many of his regulars are highly knowledgeable. Some 

are home baristas with professional equipment, even 

home roasters. 

“They’ll ask all kinds of nerdy questions, and I love it. 

It shows there are people out there who are passionate, 

who care where coffee comes from, how it’s processed 

and ask us how we’d suggest they brew it.” 

Jason’s well aware of the cost-of-living crisis and the 

grumbles about $7.80 flat whites. His response is that 

there’s a tastier, higher-quality, more sustainable option 

for less – a cup of filter. 

Because Vanguard roasts and grinds in-house and 

filter requires no milk, no $30,000 machine or multiple 

baristas, it costs much less to produce. 

“It’s a machine that brews to the right temperature 

and volume. We just put in good coffee, grind it right, 

and it comes out delicious.” 

Still, convincing New Zealanders is difficult. 

“Drip filter is a hard sell in a dairy-producing country,” 

he says. 

“Most people still love their Nespresso, that milky 

comfort beverage in the morning.” 

Though not averse to a flat white, his preference is a 

light-roasted, single-farm Colombian or Kenyan microlot 

brewed with a V60 pourover (a v-shaped manual 

brewing device). 

“Because I can taste the farm, the varietal, the 

processing of it. It’s like when you have a really good 

glass of wine – you can taste much more… more 

than just that it’s a glass for a purpose, you can taste 

berries or fruit. And when you take that moment 

and are present in your coffee ritual, it feels great. It 

transports you to the other side of the world, gives 

you a glimpse of a farmer feeding his family. 

“It probably sounds romantic, but I love that 

pleasant surprise when you taste something and it’s 

not what you expect.” 

Jason may be established enough to rely on 

reputation and relationships, but specialty coffee is 

not immune to economic realities. Climate volatility, 

US tariffs, the global cost-of-living crunch, shifting 

consumer tastes, especially among a younger 

generation less charmed by careful curation, and 

advancing technology are reshaping the industry. 

At the same time, coffee consumption is climbing 

worldwide, in wealthy and emerging markets alike. 

The scale of the money at stake is sometimes 

startling. Last month, a Dubai roaster paid $51,000 

per kilo for 20kg of 98-point washed green Geisha 

coffee beans from Panama. 

Meanwhile, in China, huge coffee chains are 

rolling out fully automated stores capable of serving 

high-quality, customised coffee anytime, anywhere. 

In New Zealand, mass-market operators such 

as petrol station-based Wild Bean, now among 

the country’s largest coffee companies, are refining 

systems and improving quality. 

The coffee business is only getting tougher. 

For specialty traders like Jason, the focus is on 

enduring, not on big profits. Slim margins and costcovering, 

he says, can still work without massive 

price hikes. But for cafes, pressure is intense. 

He says many owners use the “coffee crisis” 

to justify higher prices. Even so, as rent, power 

and supplies rise relentlessly too, profitability is 

being squeezed. 

“I feel like the days of small, independently owned 

cafes are numbered. It’s just not a good business 

model any more. It’s getting very difficult for mumand-pop 

cafes to price themselves fairly and still 

make a living, without pushing prices higher. 

“It’s a challenging time for cafes – I don’t know 

where it ends.”


A cosy homecoming 

Christchurch will be flocking (pun intended) 

to The Arts Centre as Amanda Dorset and Ben 

Wilson, founders of celebrated Wānaka-based 

sheepskin company Wilson & Dorset, return 

to their Canterbury roots to open a stylish 

new store in the much-loved heritage enclave. 


Amanda, congratulations on the new store! How 

long has it been in the works, and what drew you to 

choosing Christchurch? 

I’m a born and bred Cantabrian – this feels like home. 

Ben went to school here, and we both have family here. 

We’ve been dreaming of a Christchurch store for years 

because we have incredible loyal customers here who’ve 

supported us since day one – that’s 19 years now. 

Our CEO Lisa, CFO Kate and digital marketing lead 

Andrea all live here, so we have amazing local support. 

Canterbury people get wool. They live close to nature, 

many have farming connections, and they understand the 

heritage and value of working with natural fibres. 

And how did you come to this spot in The Arts 

Centre specifically? 

It’s my favourite place in Christchurch. The Gothic Revival 

architecture, the history – Canterbury College was the 

intellectual heart of the city in the 1800s. I love the 

wooden stairs, polished smooth by thousands of students 

rushing to lectures, they tell their own stories. 

I used to visit the weekend markets here as a teenager, 

I saved up for my first pair of Last Footwear Company 

shoes and purchased them at the market. 

The Arts Centre has this cool, cultured vibe – if the 

walls could talk, they’d say something sage and witty. 

Here’s hoping we can imbibe some of that! 

We’re surrounded by quality retailers like Frances 

Nation and Indigo Provisions, we’re next to the 

Canterbury Museum and Botanic Gardens, Christchurch 

Art Gallery and with Dux de Lux hopefully coming back 

to life – there’s an undeniable creative magnetism here. 

RIGHT: Wilson & Dorset founders 

Ben Wilson and Amanda Dorset. 

Photo: Abbie Melle

ABOVE: A Wilson & Dorset campaign 

image. Photo: Sophie Bayly 

Tell us a bit about how you’re making the space 

your own… 

I’ve painted the walls a rich dark brown for starters 

– got an “interesting” from The Arts Centre team! 

Then we’re basically coating everything in pure 

New Zealand sheepskin. 

James McNab, a lovely Kiwi designer in 

Melbourne, is helping with the fitout alongside local 

legend Peter Van Kempen. 

What can customers expect when they step in 

the door? 

Not a boring retail shop. Think immersive 

experience – somewhere you’d bring visiting 

friends and family. Cosy, warm, inviting, covered 

in wall-to-wall sheepskin so you can sit, relax and 

have a cup of tea. 

Whether you want a floor rug, a shaggy bean 

bag or last-minute gifts like a hot water bottle or 

pair of slippers – we’ll help you find exactly what 

you need. 

You’ve also just released two stunning new colourways 

inspired by the ’80s – tell us a bit about these… 

I wanted to explore a two-tone finish on our long shaggy 

pile. Rob Roy is rich brown with golden tips, McKenzie is 

cool grey with silver highlights. 

When I saw the first prototype, I got so excited telling 

my younger team about ’80s perms and frosted tips (I 

snuck out from school for mine – the naivety of thinking 

that would go undetected!) The whole ’80s nostalgia hit 

me: the music, hair, fashion, acid wash jeans. 

We shot at Wānaka Skatepark to capture that cool ’80s 

vibe. This new frosted-tipped sheepskin shimmers – we’ve 

been overwhelmed with the response so far. 

Anything else on the near horizon for Wilson & Dorset? 

We’re expanding our small gift range – bucket hats, coin 

purses, shoe inner soles. 

We have an exciting development for next year. I’m 

hesitant to say it out loud as I might jinx what has been a 

dream of mine all along… but hey, life’s too short to hold 

back – a sheepskin jacket. There, I said it. 

“I’ve painted the walls a rich dark brown for starters – got an 

‘interesting’ from The Arts Centre team! Then we’re basically coating 

everything in pure New Zealand sheepskin.”

New nostalgia 

An award-winning, “landscape-hugging” Wānaka house nods to the beloved family 

home that formerly sat on the site while ensuring a comfortable future for its occupants. 

words Kim Dungey 

PHOTOS Biddi Rowley

Architecture | Magazine 45 

T 

he owners of this award-winning property in Wānaka faced a difficult decision – 

whether to renovate the 1970s house on the site or build a new one in its place. 

While there were many things about the house they liked, it also had some 

shortcomings, one of the owners says, adding they wanted to have a warm house and 

would have struggled to bring it up to the Building Code. 

Ultimately, they decided to demolish the home, which had been built as a retirement 

property for her husband’s late parents. But after holidaying in it for a decade and living 

in it fulltime for three years, they wanted to replicate the best aspects in the new build. 

“There were quite a lot of issues with [the old house] but there was a lovely feel about 

it, which amazingly has sort of been transferred to this [new] one,” she says. 

“The old house had courtyards and garden areas that [wrapped around it] and we 

have that here.” 

“Big book shelves, sunny window seats and things like that have been repeated as well.” 

When it came to engaging an architect, the former Wellington couple opted for 

Auckland-based RTA Studio. 

Longtime admirers of the firm’s work, they particularly liked the “pared-back simplicity” 

of the holiday home that RTA founder Richard Naish and his wife Andrea Hotere built in 

the Cardrona Valley. 

The architects say while there was strong emotional attachment to the original house, 

the building was no longer fit for purpose. 

“It was modest in scale, poorly insulated and lacked the thermal performance required 

for year-round comfort in Wānaka’s climate. Renovating would have required significant 

structural and thermal upgrades, and ultimately wouldn’t have achieved the long-term 

vision the clients had for a warm, efficient home that could welcome extended family.” 

Surrounded by mature oak trees, the four-bedroom house is composed of two main 

pavilions arranged in a split-level plan to respond to the site’s contours. 

These two pavilions – one containing living areas; the other, bedrooms – are linked by 

a glazed connection that acts as a threshold between public and private spaces. 

The bedroom wing is set slightly lower, creating a subtle separation in scale and 

experience while maintaining a cohesive whole. 

Sustainability was key, with passive design principles ensuring energy efficiency. A highperformance 

thermal envelope, heat recovery ventilation and photovoltaics reduce the 

home’s environmental impact. 

The exterior cladding is Abodo heat-treated pine.

46 Magazine | Architecture 

Although they encountered asbestos when they 

pulled the old house down and Covid lockdowns later, 

the process was stress-free, the owner says. 

“It was excellent working with the architects and 

we were also very lucky with the building company 

[Breen Construction].” 

While the house has several hard surfaces, including 

concrete floors and a board-formed concrete wall, 

a timber-lined acoustic ceiling works well to soften 

reverberation, she adds. 

Another feature they like are the slatted wooden 

screens on the outside of the windows, which can be 

moved to block out the sun in summer or stacked to 

the sides in winter. 

They were also pleased to find their initial concerns 

that the new house could stand out too much were 

unfounded. Enveloped by garden, it’s similar to the 

original in that it’s “tucked in” and unobtrusive. 

That aspect was praised by the judges when the 

project received an award in the 2025 NZIA Southern 

Architecture Awards, who said: “In a location often 

bound by attempts to capture expansive mountain 

views, Beacon Point House provides a refreshing 

contrast by nestling itself into the established landscape.” 

“The relationship with a former dwelling on the site 

built by the client’s father is evident in the new forms, 

which appear deceivingly modest from the street but 

expand inwards to hug a central terrace. 

The judges also commended the “materiality” of 

the design, which they said had been “approached 

with restraint, with the black-stained exterior timber 

contrasting the warmth of the interior palette”.

EXTERNAL AFFAIRS 

with Tim Goom 

by Goom 

PROJECT PLANNING 

Your garden, designed 

for living 

At Goom Landscapes, we believe your garden should feel like part of 

your home – a place that suits your lifestyle as much as your living room 

does. Whether that’s entertaining with friends, playing with the kids, or 

just putting your feet up with a coffee (or a vino), we’re here to make it 

happen. 

It starts with a chat 

Every project begins with a friendly on-site consultation. We’ll walk 

through your space and talk about how you’d like to use it. Do you 

love a summer BBQ? Need a safe space for children or pets? Keen on 

gardening, or prefer weekends without the weeds? We’ll also check 

in on things like privacy, security, and whether you have site plans or 

consents we should know about. 

Your tailored proposal 

From there, we’ll put together a proposal just for you. This might be a 

full garden design or simply a tidy-up to bring your outdoor areas back 

to life. 

Meet your landscape architect 

Once you’ve confirmed a full design, the real fun begins. You’ll meet 

your Landscape Architect, who’ll take measurements and dig deeper 

into your ideas. They’ll ask about style – maybe native planting, maybe a 

clipped English look – as well as budget, timing, and whether you want 

to stage the work or complete it all at once. We’ll also talk through 

practical details like wind, drainage, and shade. 

Bringing the design to life 

Next comes your Concept Plan: a clear, creative vision of how your 

garden could look and feel. It’s your chance to see the design, ask 

questions, and get excited about the possibilities. 

Making it easy 

We know projects can feel big, so we offer extras to keep things 

smooth. A Feasibility Study helps align the design with your budget. We 

can assist with council consents. And if you’d like, we’ll provide project 

observation so you know everything’s on track. 

At Goom Landscapes, our process is simple and collaborative. 

At Goom Landscapes, our process is simple and collaborative. The end 

result? An outdoor space that feels natural, personal, and ready for you 

to enjoy – not just this summer, but for years to come. 

ARCHITECTURE IN THE LANDSCAPE 

Where thoughtful landscapes shapes beautiful, liveable spaces 

goom.nz 

IDEATION-GOM0201

48 Magazine | Promotion 

directory 

Home & Living 

any excuse 

Discover ‘Just the Two of Us’ by Nelson-based 

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the viewer a feel of depth. In the past 13 years, 

Kathryn has had numerous successful exhibitions 

throughout New Zealand and internationally. 

This striking piece combines contemporary style 

with earthy tones, making it a versatile addition 

to any home. 46cm x 46cm, $279.99. 

anyexcuse.co.nz 

Little RIver Gallery 

‘Roll’, ‘Frolic’ and ‘Steed’ – three delightful sculptures 

by Siene de Vries. European trained in the classic lost 

wax technique, Siene has captured equine grace and 

beauty in the beautiful, timeless and very worthy 

materials of solid bronze and granite base. Measuring 

up to 210mmL x 190mmW x 240mmH, $3200 each. 

littlerivergallery.com 

Resene 

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resene.com/colorshops

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Love on a plate 

From the creator of the hugely popular Just a Mum’s Kitchen website and 

social media community, Anna Cameron’s debut cookbook is a delicious love 

letter to both her followers and family – in particular her own beloved mum. 

WORDS + RECIPES Anna Cameron | PHOTOS Melanie Jenkins

Food | Magazine 51 

Writing a cookbook has always been a dream of 

mine, a way to share my recipes with more 

people, create a lasting legacy for my friends, family and 

loyal followers, and finally make something tangible after a 

decade of recipe blogging. 

And let’s just say, people have not been shy about 

requesting one! My wonderful followers have asked year 

after year, my friends and family have hinted, and patient 

publishers have gently (but persistently) inquired. 

When Allen & Unwin publishing director Michelle 

Hurley sent her annual ‘checking in’ email early in 2024, 

I finally felt the time was right – for some very personal 

and special reasons. 

My love of baking is rooted in family and memories 

of watching the women in my life effortlessly create the 

most incredible home cooking. 

I remember fresh scones with jam and cold orange 

Raro for the haymakers on hot summer days, eating 

bacon and egg pie and chocolate square at the lake while 

dad skied, and roadside picnics with mum’s vanilla biscuits 

and a thermos. The Christmas table was always fully 

loaded with my aunties’ delicious, decadent dishes and I 

loved my grandma’s crispy, fluffy roast potatoes. 

Food and the women who cook it have always made 

an impression on me. As a little girl, I was enamoured 

with Alison Holst, Jo Seagar and Julia Child on the telly, 

then later Allyson Gofton, Peta Mathias and Annabelle 

White. Their friendly personalities made home cooking 

seem easy and joyful, and it all brought such happiness to 

little me, watching from rural New Zealand in the eighties 

and nineties. 

I come from a family of recipe gatherers. I am blessed 

to possess many old recipe books passed down from my 

grandma, great-aunt and mum, all filled with beautifully 

handwritten recipes and endless aged newspaper cuttings. 

My mum would pop an asterisk or ‘VG’ (for ‘very 

good’) or ‘Ex’ (for ‘excellent’) next to the recipes she had 

tried and loved. 

Whenever home cooking was brought to our home 

by friends or family, mum would ask for the recipe – a 

simple act repeated in households across New Zealand 

and, indeed, the world. It’s the best way for recipes to live 

on and be enjoyed. 

That’s how my story as a recipe blogger began. 

Friends often asked for my recipes when I took baking 

to playdates and music groups, and in 2014, bored in the 

evenings while my husband worked away at a new job, I 

thought, ‘Why not put them in a blog?’ That way, when 

people asked for a recipe, I could just send a link. 

I signed up for a free WordPress template and gave 

almost no thought to a name for the blog. At the time, I 

was a stay-at-home mum to three little kids (my son was 

eight and my daughters six and three). Whenever anyone 

asked what I did, I would say, ‘I’m just a mum’, of course 

knowing that meant I was a million other things as well. 

So, when prompted for a title for the blog, I wrote that, 

never thinking it would become my official business name. 

That night I wrote up my first recipe … for silly putty! 

The next day, I added my Best-Ever Chewy Chocolate 

Chip Cookies, then, over the next few weeks, chocolate 

cakes, magical orange cake, playdough recipes, rice bubble 

slice, shaving foam bath paint and summer pasta salad, to 

name just a few. 

I was shocked to see that people all around the world 

were viewing my posts, as that was not something I had 

expected. It was a very steep learning curve in those first 

few months, let me tell you. 

So, in August of that first year, after realising that my 

blog was not just being seen by my friends and family, but 

viewed worldwide, I set up officially as justamumnz.com. 

It was a whirlwind of learning, just me and Google, 

figuring out how to set up a website with 45 tabs open 

at any given time. I had to learn how to create a social 

media presence at a time when Facebook was king, but it 

was not easy to get your work seen. It was all very new to 

New Zealand, so there were limited people I could ask. 

I went from a few of my friends following my social 

media pages to more than 250,000 followers today and 

from 120,000 website views that first year to well over 

34 million views as of today. 

It’s crazy, really, when you think it’s still just me making 

food in my tiny kitchen during school hours, arranging it 

on a board perched on two bar stools in a sunny spot 

in the corner of my lounge, and taking photos using my 

phone camera! 

My photos from the early days are quite something to 

behold! While those I take now are still not professional 

level, they have definitely improved. This little blog has 

allowed me to share the recipes I love with the world, 

and I work hard to ensure they are fail-proof and 

achievable for all home cooks. 

Which brings me back to why I said yes to writing 

a cookbook after all these years of requests. In late 

2023, we learned my dear mum had cancer. I’d always 

said I’d only write a cookbook as a legacy for my 

family, and when the timing felt right for me personally. 

When Michelle reached out in early 2024 with her 

annual gentle nudge, I thought, ‘Why not at least have 

the conversation?’ If ever there was a time to create 

something special, it was now. 

Sadly, during April and May of 2024, I sat with mum 

in her final weeks. It was far, far too soon, and at an age 

that felt much too young. 

Amid the heartbreak, I had the chance to share 

something special with her, something only a handful 

of people knew – that I, little old me, was writing a 

cookbook. She had her eyes closed but said, ‘Really?’ I 

said, ‘Yes, Mum, people will be able to buy it in shops 

like a real cookbook.’ She smiled widely and whispered, 

‘That’s so exciting, kiddie.’ And you know what, it really is! 

I am, first and foremost, just a mum, but after years of 

sharing recipes for people to enjoy and creating a lovely 

online community of followers, it really is so exciting that 

this journey has brought me to this point.

52 Magazine | Recipes 

Creamy baked cheese 

and spinach dip 

This warm dip is a creamy, cheesy, garlicky 

delight – rich, flavourful and ideal for 

sharing. Serve it hot with crusty bread, 

crackers or toasted baguette slices for an 

irresistible crowd-pleaser at any gathering. 

Serves 4+ | Preparation time: 25 minutes 

Cooking time: 20–30 minutes 

100g frozen spinach 

110g cream cheese, 

at room temperature 

¹⁄₃ cup sour cream 

1 tablespoon whole-egg mayonnaise 

1 teaspoon Worcestershire sauce 

¼ teaspoon paprika 

¼ teaspoon onion powder 

¼ teaspoon garlic powder 

⅛ teaspoon nutmeg 

⅛ teaspoon pepper 

Pinch of cayenne pepper 

½ cup grated mozzarella 

¼ cup grated parmesan 

1 clove garlic, minced 

2 teaspoons finely grated lemon zest 

¼ cup grated mozzarella 

Preheat the oven to 175°C. Grease a 12–15 cm 

diameter ovenproof bowl or dish. 

Place the frozen spinach in a microwavesafe 

bowl, add a little water and heat in the 

microwave for 2 minutes or until thawed, and 

finely dice if needed. Tip into a fine sieve and 

squeeze out every drop of water. Set aside. 

In a medium bowl, beat the cream cheese with 

a strong wooden spoon until soft and smooth. 

Stir in the sour cream, mayonnaise and 

Worcestershire sauce. Add the drained spinach 

and stir until evenly incorporated. 

In a small ramekin, combine the paprika, 

onion powder, garlic powder, nutmeg, 

pepper and cayenne. Add to the cream cheese 

mixture along with the mozzarella, parmesan, 

garlic and lemon zest. Stir well. 

Spoon into the prepared dish and sprinkle 

over the second measure of mozzarella. 

Bake for 20–30 minutes, or until the mixture is 

hot, oozing and slightly golden. 

Serve sprinkled with fresh diced parsley or 

chives if desired.

Recipes | Magazine 53 

Gourmet crackers 

Why pay a fortune for fancy crackers when you can make your 

own? These crisp, twice-baked treats are simple, customisable and 

delicious. The apricot and nut flavourings are a personal favourite 

– sweet, nutty and irresistible! 

Makes 30 | Preparation time: 25 minutes | Cooking time: 40 + 35 minutes 

1 cup milk 

¼ packed cup brown sugar 

¼ cup sour cream 

½ cup plain white flour 

½ cup wholemeal flour 

1 teaspoon baking soda 

½ cup finely diced dried apricots or cranberries 

½ cup rolled oats 

¼ cup sunflower seeds 

¼ cup nuts, such as cashews, slivered almonds or macadamias 

1 teaspoon dried rosemary or cumin seeds 

½ teaspoon turmeric 

½ teaspoon cinnamon 

¼ teaspoon nutmeg 

¼ teaspoon salt 

Pinch of pepper 

Preheat the oven to 180°C. Thoroughly grease a 21 x 11 x 7 cm loaf tin with 

melted butter or cooking spray. 

In a medium bowl, whisk together the milk, sugar and sour cream. 

In a large bowl, stir together the plain white flour, wholemeal flour and 

baking soda. Add the dried apricots or cranberries, rolled oats, sunflower 

seeds, nuts, rosemary or cumin seeds, turmeric, cinnamon, nutmeg, salt and 

pepper. Mix well. 

Add the milk mixture to the flour mixture and fold gently until just 

combined. The batter will be thick. 

Spoon the batter into the greased tin, smooth the top and bake for 

30–40 minutes, or until a skewer inserted into the centre comes out clean. 

Allow to cool in the tin for 5 minutes, then transfer to a wire rack to 

cool completely. 

Wrap the loaf in plastic wrap and freeze for 1–2 hours to firm up for easier 

slicing. (It can be frozen for up to 3 months.) 

Preheat the oven to 135°C fan-forced. Line two large baking trays with baking 

paper, using a little water or cooking spray to keep the paper in place. 

Using a large sharp serrated knife in a sawing motion, slice the loaf into thin 

slices (about 3 mm). Ensure you slice straight down to keep an even thickness. 

Arrange the slices closely on the prepared trays. Bake for about 35 minutes, 

turning the slices over once and rotating the trays halfway through, until 

uniformly golden and crisp. Watch carefully to ensure the fruit does not burn. 

Cool completely on the trays, then store in an airtight container for up to 3 

weeks or can be frozen.

54 Magazine | Recipes 

The ultimate pot roast 

This warming slow cook is a must-have recipe for every home, transforming 

an affordable chuck roast into tender, fall-apart beef in a rich, hearty gravy. 

It’s perfect for cold nights, especially served over creamy mash. 

Serves 6–8 

Preparation time: 45 minutes 

Cooking time: 4+ hours 

BEEF 

1.6 kg beef chuck roast, boneless 

2 teaspoons ground coarse sea salt 

1½ teaspoons pepper 

¼ cup plain white flour 

1 teaspoon onion powder 

1 teaspoon garlic powder 

½ teaspoon salt 

2 tablespoons olive oil 

SAUCE 

15g butter 

5 large carrots, peeled and cut into 5 cm chunks 

3 stalks celery, cut into 3 cm chunks 

1 large onion, coarsely chopped 

1 teaspoon pepper 

½ cup tomato paste 

8 cloves garlic, peeled and smashed with the 

flat side of a knife 

1 cup beef stock or red wine 

3 cups beef stock 

1 tablespoon Worcestershire sauce 

1 teaspoon garlic powder 

1 beef stock cube 

2 sprigs fresh rosemary 

2 bay leaves 

15g butter, at room temperature 

2 tablespoons plain white flour 

TO SERVE 

Buttery mashed potatoes 

Chopped fresh parsley to garnish (optional) 

Preheat the oven to 150°C, positioning an oven rack just 

below the centre. 

To prepare the beef, place it in a large roasting dish, trim any 

excess thick fat on outer edge, pat dry and season it all over 

with the salt and 1 teaspoon of the pepper. 

In a ramekin, mix the flour, onion powder, garlic powder, 

salt and the remaining ½ teaspoon pepper. Coat the beef 

thoroughly all over with the flour mixture. 

Heat the oil in a Dutch oven over a high heat on the stovetop, 

then reduce the heat to medium and sear the beef for 4–5 

minutes on each side to form a deep brown crust. Return the 

beef to the roasting dish and set aside. 

To make the sauce, reduce the heat under the Dutch oven to 

medium-low and add the butter, carrots, celery, onion and 

½ teaspoon of the pepper. Cook until the onion is soft and 

translucent, then stir in the tomato paste and garlic. Cook for 

5 minutes, stirring often, until fragrant and darkened. 

Deglaze the pan with the cup of stock or red wine, scraping 

up the pan brownings as you stir. Simmer for a few minutes. 

Add the 3 cups of stock and the Worcestershire sauce, garlic 

powder and the remaining . teaspoon pepper. Crumble in the 

stock cube and bring to a bubbling simmer. 

Turn off the heat, return the beef to the sauce and press to 

submerge. Add the rosemary and bay leaves, cover with the 

lid and bake for 3–4 hours, or until the beef is fork-tender 

and falling apart. 

Return the beef to the roasting dish. Discard the rosemary 

stems and bay leaves and use a slotted spoon to transfer the 

carrots and celery to a bowl. Set aside. 

Place the Dutch oven on the stovetop over a medium-low 

heat to reduce the sauce. Combine the butter and flour into a 

paste in a small ramekin, whisk it into the sauce and simmer 

until thickened. 

Shred the beef with two forks, discarding any fat, and return 

it to the thickened gravy. Add the vegetables and stir to coat. 

Serve in bowls over buttery mashed potatoes, garnished with 

parsley if desired. Store leftovers in the fridge for up to 3 days.

Recipes | Magazine 57 

Sticky date pudding with 

butterscotch sauce 

A comforting pudding smothered in a rich butterscotch sauce. It’s easy to 

prepare and can be made ahead of time. I love the sauce so much that I 

use it in three separate ways to ensure a luxurious result. 

Serves 8+ 

Preparation time: 40 minutes 

Cooking time: 35–45 minutes 

1½ cups dates, chopped 

1 teaspoon baking soda 

1 cup boiling water 

¾ packed cup brown sugar 

100g butter, softened 

2 eggs 

1¾ cups self-raising flour 

1 tablespoon finely grated orange zest 

1 teaspoon vanilla essence 

½ teaspoon cinnamon 

¹⁄₃ cup walnuts, diced (optional) 

SAUCE 

1 cup cream 

1 packed cup brown sugar 

100g butter, diced 

Preheat the oven to 180°C. Grease and line the base and sides 

of a light coloured 20cm round cake tin. 

Place the dates in a medium bowl, sprinkle with the baking 

soda and pour the boiling water over the top. Stir and set aside 

for 20 minutes while you prepare the cake batter. 

In the bowl of a stand mixer, beat the sugar and butter for 4 

minutes until pale and creamy. Add the eggs one at a time, 

beating well between additions. Add the flour, orange zest, 

vanilla, cinnamon and walnuts (if using) and mix until they are 

just combined and no flour is visible. 

Gently mash the softened dates with a fork. Fold gently into 

the cake batter until fully combined. 

Pour into the prepared cake tin and bake for 35–45 minutes, or 

until a skewer inserted into the centre comes out clean. 

While the cake is cooking, prepare the sauce by combining the 

cream, sugar and butter in a small saucepan over a medium heat. 

Bring to a boil, stirring occasionally, then allow to boil without 

stirring for 2–3 minutes. Remove from the heat and set aside. 

Remove the cooked cake from the oven and while it is still in the 

tin use a skewer to pierce dozens of deep holes all over it. Pour a 

quarter of the sauce over the top, spreading with a pastry brush 

to ensure the entire cake absorbs the sauce. Allow to sit for 20 

minutes before turning out onto a serving plate or rack. 

When ready to serve, pour a third of the remaining sauce over the 

warm pudding. Serve sliced, drizzled with the remaining sauce. 

If not serving straight away, store the pudding and remaining 

sauce in airtight containers in the fridge for up to 5 days. When 

ready to serve, heat both in the microwave and serve as above. 

Extracted from Just a Mum’s Kitchen 

by Anna Cameron, photography 

by Melanie Jenkins (Flash Studios). 

Published by Allen & Unwin 

Aotearoa New Zealand, RRP$45.

58 Magazine | Arts 

Weaving treasure 

Selected for CoCA’s sought-after Emerging Curator programme, Ōtautahibased 

multi-disciplinary artist and historian Dr Ereni Pūtere’s new 

exhibition at the celebrated gallery draws on her own creative practices 

alongside the taoka (treasures) of Māori weavers past and present. 

words tia barrett 

This month Dr Ereni Pūtere (Kāi Tahu, Kāti 

Māmoe, Waitaha – Moeraki, Te Ātiawa 

– Ngāti Rāhiri) shows yet another facet 

of her talents with the opening of Āhuataka: 

A Wānaka of Kāi Tahu Woven Adornment at 

Christchurch’s Centre of Contemporary Art Toi 

Moroki (CoCA). 

Ereni begins our conversation by saying she 

doesn’t remember ever choosing to become a 

kaiwhatu (traditional garment weaver). 

However, a kōrero with an aunty eventually 

guided Ereni to Te Whare Pora o Rehua – 

Ōtautahi Weavers, a marae-based learning 

experience in weaving traditional garments with 

senior weaver and aunty Paula Rigby (Kāi Tahu, 

Ngāti Kahungunu ki te Wairoa, Ngāti Ruapani, 

Ngāi Tūhoe) – a privilege that’s rare in Ereni’s 

generation, laying the foundations of her creative 

practice. 

From there, Ereni wove tāniko (a traditional 

Māori finger-weaving technique) and tried 

her hand at weaving kete, but whatu kākahu 

(garment weaving) remains her main creative 

interest and artistic focus. 

The skill required to create kākahu, which 

often involves a slow pace, intricate patternformation 

process, and hāro muka (flax fibre 

making), means it can take months or even years 

to complete a single kākahu. 

Formal educational environments of learning 

weaving weren’t her preferred choice. She 

acknowledges how they made Māori arts more 

accessible, but hopes more of her generation 

will return to marae-based learning. 

“It’s important we maintain our traditional 

ways of teaching and learning based in the 

marae,” she says. 

Although as an artist her practice extends 

to other mediums such as digital illustration, 

design and pani whenua (painting with earth 

pigments), weaving sits at the centre of how 

Ereni approaches her creative practice. 

“Te Whare Pora (the institution of Māori weaving) 

is where my tikaka (traditional customs and values) is 

based and where my accountability lies.” 

Recently completing her doctoral studies at the 

University of Canterbury, Ereni describes what 

she calls an “arbitrary division in our arts sector 

between what’s contemporary and traditional,” 

further explaining that this is something that 

uniquely occurs within a toi Māori context. 

“Weaving is still being practised in the modern 

world, it’s a living tradition, it never stopped 

living and growing. It’s an enduring institution of 

Māori excellence”. 

This leads into our discussion on the exhibition 

Āhuataka: A Wānaka of Kāi Tahu Woven Adornment. 

Unpacking the title, Ereni interprets Āhuataka 

as “a homage to our whakapapa and mita as Kāi 

Tahu; the ways in which we express ourselves, 

but also to make or form something,” then 

further explaining the word also has a whakapapa 

(lineage) to the atua wahine Māori Hineahuone, 

who was fashioned from the soil of Papatūānuku 

(the Earth). 

Ereni reinforces that the exhibition’s ikoa 

(name) describes “our way of creating things to 

express ourselves.” 

She also emphasises the importance of uniting 

a community, saying, “this is one kōrero from one 

community,” and notes that the exhibition doesn’t 

represent all Kāi Tahu communities. 

She points out there are many communities 

within Kāi Tahu, and “they look different based 

on their whānau and whenua, what they make 

and how they want to express that.” 

An exciting aspect of Ereni’s curatorial 

experience with CoCA is the unique process 

of selecting taoka (treasured items) from 

Canterbury Museum to include and install 

alongside new contemporary works. 

CoCA helped connect Ereni with Māori, Pacific 

and Indigenous Human Histories curator Hatesa 

Seumanutafa at Canterbury Museum in order to 

explore potential taoka. 

Describing the process of accessing the

ABOVE: Dr Ereni Pūtere is a participant in CoCA’s Emerging 

Curators programme for 2025. Photo: Jade Cavalcante 

“An exciting aspect of Ereni’s curatorial experience with CoCA is the 

unique process of selecting taoka (treasured items) from Canterbury 

Museum to include and install alongside new contemporary works.”

collections as “mīharo” (awesome), Ereni says she felt 

a sense of awe in interacting with ancestral taoka. 

While Canterbury Museum is currently undergoing 

redevelopment, this exhibition presents a rare chance to 

engage with such items. 

Ereni highlights the importance of displaying both 

tūpuna (ancestral) and contemporary weavers together, 

as most exhibitions typically feature either tūpuna 

weavers or contemporary weavers. 

For Āhuataka: A Wānaka of Kāi Tahu Woven Adornment, 

visitors will see both weaving traditions side by side. 

Ereni describes this as “the same aho, same practice and 

same space as it’s a continuation of the same tikaka and 

base that gives us the ability to respond to our world 

and create these taoka”. 

Another beautifully woven curatorial aspect of 

Āhuataka is the inclusion of pūoro (sound/music) by 

Dr Ruby Mae Hinepūnui Solly (Kāi Tahu, Waitaha, Kāti 

Māmoe – Waihao). 

Ereni says these were chosen as Ruby is another artist 

who, in their own unique process, bridges the traditional 

and contemporary as a kaipūoro (practitioner of Māori 

sound), writer and musician. 

The album Pōneke will serve as the exhibition’s 

soundscape, and Ruby will perform a concert to open 

the show to the public. 

In connection with the curatorial process, Ereni reveals 

the weavers she has included in the exhibition. 

Starting with her whānau and master weaver Paula 

Rigby, who shares whakapapa to Moeraki, Ereni says 

the whakapapa of her own weaving comes from her. 

“Paula weaves the most beautiful ornate traditional 

garments from muka and at the same time creates out 

of this world contemporary installations that beautifully 

represent Te Whare Pora in a contemporary context.” 

Isaac Te Awa (Kāti Māmoe, Kāi Tahu, Waitaha, 

Ngāpuhi), Mātauranga Māori curator at Te Papa 

Tongarewa Museum of New Zealand, is another artist 

included in the exhibition. 

Selected because of his ingenious approach to 

materiality and traditional style of weaving, Isaac can 

“recreate and give new life to taoka tūpuna, make 

them accessible and bring them to whānau”, but has 

also been an influence and a mentor for Ereni within 

Māori curation knowledge. 

As for the final artist, Ereni is honoured to include 

hei tiki (sacred Māori adornments) from the Kāi Tahu 

master carver Fayne Robinson (Kāi Tahu, Ngāti Apa ki 

te Rā Tō, Ngāti Porou). 

According to the pūrākau (ancestral teachings) 

shared with her, Ereni states that “hei tiki are 

representations of Hineteiwaiwa who is the atua of 

both Te Whare Takata (house of humanity) and Te 

Whare Pora.”

Arts | Magazine 61 

OPPOSITE: Paula Rigby (left) and Ereni Pūtere 

weaving in the wharenui Te Whatu Manawa 

Māoritanga o Rehua at Rehua Marae in 

Ōtautahi. Photo: Rehua Marae 

LEFT: Ereni demonstrating whatu tāniko 

(traditional Māori weaving) on a kahu tāniko 

(cloak); A tarapouahi (shoulder garment) 

woven by Ereni with a selection of other 

woven adornments. Photos: Jade Cavalcante 

Ereni further emphasises that the binding 

and cordage used for hei tiki are equally 

important forms of weaving and will be 

exhibited in the show. 

As our interview wraps up, Ereni 

highlights the importance of participating in 

the CoCA Emerging Curators programme. 

“Living in Ōtautahi, there are few 

opportunities to find a place to start 

curating, and there are barriers for Māori 

curators to access these spaces in general.” 

By being part of the programme, CoCA 

has provided a comprehensive support 

service and exhibition space for Ereni to 

have the independence to create something 

“entirely from my whakaaro (thoughts)” and 

make Āhuataka: A Wānaka of Kāi Tahu Woven 

Adornment a reality. 

“I want to mihi (say thanks) to the CoCA 

team for the structure, tangible support, and 

for helping build new working relationships 

within the Ōtautahi arts sector.” 

Āhuataka: A Wānaka of Kāi Tahu Woven Adornment, CoCA – Centre of Contemporary Art Toi Moroki, 

October 16 – November 9, 2025. 

THE FLOWER SHOW 

20 September - 20 October 2025 

Carmel Van Der Hoeven 

Georgina Hoby Scutt 

Anna Stichbury 

Harriet Millar 

art@littlerivergallery.com 

03 325 1944 - littlerivergallery.com

62 Magazine | Music 

Musical magic 

Adam International Chamber 

Music Festival artistic director 

Gillian Ansell shares some of 

the world-class musical treats 

in store for attendees of the 

2026 event in sunny Nelson. 


Photo Latitude Creative 

Gillian, tell us a bit about the festival generally… 

It is Aotearoa’s longest running classical music festival but 

includes music composed right up to this month – one of 

the pieces is still being written, a commission featuring a 

string quartet and four mobile phones! 

We’re based in sunny Nelson and specialise in 

powerful but intimate performances, featuring worldclass 

musicians from all round New Zealand and from as 

far afield as Canada, UK, Germany, USA and Australia. 

Many of the musicians have played together in the past 

but there will also be unique collaborations that will only 

be heard at this festival. 

We’ve grown from a little weekend festival to a really 

significant part of New Zealand’s classical music scene, with 

audiences from all over NZ and as far afield as Europe, 

basing themselves in Nelson for the 10 days to soak up 

the vibe and musical enrichment. The whole festival feels 

imbued with a magic spirit and the audience and players 

alike become part of a special festival community. 

And about this year’s festival specifically… 

We are really thrilled to have secured the incredible 

American pianist, Jeremy Denk, who is hailed as royalty 

in the piano world and who has received the MacArthur 

Genius Fellowship and the Avery Fisher Prize. 

We have an exceptional group of wind players from 

NZ, Australia and Canada, who will play masterpieces 

by Mozart, Beethoven, Schubert as well as some more 

contemporary works. 

A wonderful visiting string quartet from the USA, the 

Jupiter String Quartet will join the New Zealand String 

Quartet and stunningly virtuoso double bass player Phoebe 

Russell from Australia, an incredible Canadian tenor Colin 

Ainsworth, a UK harpsichordist and NZ organist – you name 

it! We’ll feature 50 composers in 17 concerts, have three 

free masterclasses and three free ‘Meet the Artist’ sessions. 

There’s also the Antipodes Quartet, a group of recent 

music school graduates, who will perform free concerts 

all round Nelson during the festival. 

The Nelson Centre of Musical Arts is a special space… 

The NCMA auditorium is a heritage building built in 1894 

with very resonant acoustics, well-known among NZ 

musicians as a treasured stage on which to perform and 

especially suitable for chamber music. 

The hall’s beautiful acoustics is the main reason the 

festival is held in Nelson, with the weather and charm of 

the region coming in as reason number two! 

For people not super familiar with chamber music, 

what is it and what’s special about it? 

Chamber music is a bit of a funny term, originating from 

music played in a home by smaller groups without a 

conductor. It can be from one player up to about 15 or 

so, but in our festival the average group size is probably 

three or four. It sounds old-fashioned but it includes 

music from any era so long as there’s no conductor 

involved, so we have two new commissions which will be 

world premieres at the festival. 

Composers can express a huge range of thoughts 

and emotions through chamber music, from outrageous 

exuberance to deepest sorrow, and often reserve 

some of their deepest feelings for this form. It can be a 

powerful and moving experience hearing a composer’s 

emotions relived in the hands of great musicians. 

Adam International Chamber Music Festival, Nelson, 

January 29 – February 7, 2026. music.org.nz

ADAM International 

Chamber Music 

29 January– 

7 February 

Festival Nelson 

2026 

Immerse yourself in the transformative beauty of chamber music at Aotearoa’s premier boutique 

festival. Join us for ten magical days of fine music, artist talks and masterclasses in the supreme 

acoustics of the Nelson Centre of Musical Arts. The 2026 stellar line-up features exclusive 

performances by the celebrated Jupiter String Quartet (USA), renowned pianist and Avery 

Fisher Prize winner Jeremy Denk (USA), the charismatic tenor Colin Ainsworth (Canada), and the 

dazzling Australian double bassist Phoebe Russell, alongside the New Zealand String Quartet 

and a host of this country’s finest performers. Find out more at music.org.nz

64 Magazine | Books 

Book club 

Great new reads to please even the pickiest of bookworms. 

Where In All The World 

Vanessa Croft | Bateman Books, $39 

Harriet Watson dreams of a life beyond the Canterbury plains of 1890s New Zealand. When 

a celebrated English explorer sets his sights on her, she’s swept into a grand romance and a far 

greater deception. Determined to make a name for himself, Curtis De Courcey undertakes a 

perilous expedition across Africa, returning a hero to claim Harriet as his bride. But as whispers 

of scandal and cruelty gather, Harriet finds herself isolated and controlled. From the Rakaia hills to 

the drawing rooms of London, through the wilds of East Africa and the brutal heart of the Congo 

Free State, Where in All the World traces one woman’s journey through betrayal, resilience and selfdiscovery, 

faced with the violence of empire and the constrictions of Victorian marriage. The debut 

novel from North Canterbury writer Vanessa Croft. 

Katabasis 

R.F. Kuang | HarperCollins, $38 

Katabasis, noun, Ancient Greek. The story of a hero’s descent to the underworld. Grad 

student Alice Law has only ever had one goal: to become the brightest mind in 

the field of analytic magick. But the only person who can make her dream come 

true is dead and – inconveniently – in Hell. And Alice, along with her biggest 

rival Peter Murdoch, is going after him. But Hell is not as the philosophers claim, 

its rules are upside-down, and if she’s going to get out of there alive, she and 

Peter will have to work together. That’s if they can agree on anything. Will they 

triumph, or kill each other trying? 2025’s most unexpected love story from the 

#1 Sunday Times and New York Times bestselling novelist (Babel, Yellowface). 

Hooked Up 

Fiona Sussman | Bateman Books, $39 

When DS Ramesh Bandara is asked to head up a homicide investigation in a small New Zealand 

beachside town, he has no idea he’s stumbled onto something much bigger. With little to go 

on, the investigation is frustratingly slow to get off the ground, but it’s Ramesh’s unconventional 

colleague, Hilary Stark, who spots similarities with a murder case she worked years before. 

Overnight, their suspect list expands to include the cast and crew from a controversial reality 

TV show, Hooked Up, that screened a decade earlier. Someone, it appears, has been holding on 

to a grudge for a very long time. From the multi-award-winning family-doctor-turned-novelist. 

Boleyn Traitor 

Philippa Gregory | HarperCollins, $38 

Sister. Liar. Witness. Spy. Traitor? Her secrets shaped a kingdom. The truth will change 

history. Jane Boleyn watches from the shadows of the Tudor court, where nothing is 

more powerful than a secret and power rests on the edge of a tyrant king’s sword. She 

wears many masks – loving wife, devoted sister, and obedient spy. It’s what a woman 

must do to survive. The only weapon she has is her voice. They say Jane’s whispers 

sealed the fate of two queens. They called her a liar and a traitor. But the truth is far 

more dangerous… The latest thrilling historical novel from the acclaimed historian and 

international bestselling author of The Other Boleyn Girl and The White Queen.

AN AUTHENTIC HISTORIC EXPERIENCE 

IN THE HEART OF DUNEDIN 

From the gardens and gallery to the great hall, the opulence 

of Olveston is a visual, historic and aesthetic delight. 

By guided tour only, commencing daily at 9.30am, 10.45am, 12pm, 1.30pm, 

2.45pm & 4pm, tour duration is 1 hour. Adults $26.00 and Children $15.00. 

Scan the 

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Historic Home

Ōamaru 

goes Noir: 

Scoundrels, 

Secrets and 

Shadows 

Victorian Heritage Celebrations 

November 13 to 16, 2025 

Step into the shadows from November 

13-16, 2025, as Ōamaru’s iconic Victorian 

Heritage Celebrations return with a twist 

that’s sure to intrigue: Ōamaru Noir: 

Scoundrels, Secrets & Shadows! 

This year, the festival peels back the prim 

and proper layers of Victorian society to 

reveal a deliciously dark underbelly. This is 

history with a scandalous twist, where the 

stories are as bold as the costumes! 

The Ōamaru Victorian Heritage 

Celebrations are a highlight on the South 

Island’s event calendar, drawing thousands 

of visitors to the beautifully preserved 

Ōamaru Precinct. Transform yourself at 

the Victorian Wardrobe, where skilled 

seamstresses will dress you in finery fit 

for a gentleman, a lady, or a mysterious 

stranger. 

It’s history with a scandalous twist 

Join in the fun with endless activities, talks, tours, 

performances, parades and tournaments. Sip tea and 

nibble on delicious delicacies at the High Tea at the 

Junction Hotel event. Marvel at the costumes on display at 

Madame Blayde’s Fashion Parade, which unveils a darker 

side of Victorian elegance. Experience New Zealand’s 

foremost Heritage cycling event for penny farthings and 

traditional Steel Bikes races. Sprints, slaloms, slow races 

and circuit race, including the ghastly ‘Tyne St Grunter’. 

Lose yourself in the excitement of the Hand Trolley Racing 

competition as you cheer on your favourite team and 

enjoy the festive atmosphere. Experience the magic of 

Phantom of the Opera with a live pianist to celebrate the 

100th anniversary of this cinematic masterpiece. 

As night falls, the celebrations continue with lively social 

dances and evening events that promise plenty of fun and 

a touch of mischief. 

So, leave the 21st century behind and immerse yourself 

in a weekend of scandalous and secretive history. 

Experience Ōamaru Noir – where the past comes alive in 

all its splendour, secrets, and shadows. 

Don’t miss this unforgettable weekend!

Popular events include: 

— Ōamaru Noir Express 

Ōamaru Noir Express 

Nov 13, 6:30pm 

Step aboard for an unforgettable journey into 

the past. 

Victorian Garden Party 

Nov 14, 2:30pm (Free) 

Enjoy the delightful elegance of this everpopular 

event at the Ōamaru Public Gardens. 

Saints, Sinners & Skeletons 

Nov 13, 1:30pm and Nov 16, 1:15pm 

Presented by local historian Bruce Albiston. 

Discover the holy chaos behind Ōamaru’s 

many churches. 

— Victorian Garden Party 

Dress up or come as you are - but don’t be fooled by the 

pretty streets. 

Expect secrets. Discover scoundrels. 

Embrace the shadows. 

— Saints, Sinners & Skeletons 

Don’t miss out! 

Find tickets and the full itinerary at 

vhc.co.nz

FURNITURE HOMEWARES LIGHTING WINDOWS INTERIOR DESIGN 

179 Blenheim Road, Riccarton, Christchurch T. +64 3 348 0815 

www.lewisandco.nz

03 Magazine: October 01, 2025

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