03 Magazine: October 31, 2025

THE 

SOUTH 

ISLAND 

LIFESTYLE 

MAGAZINE 

FREE | NOVEMBER 2025 

WHEN HERITAGE MEETS OPULENCE (AND PEKING DUCK PANCAKES): INSIDE THE JEWEL OF QUEENSTOWN’S MOST DELICIOUS AND 

DELIGHTFUL DINING DESTINATION | BESTIES ON SCREEN AND IRL: PIKE RIVER STARS MELANIE LYNSKEY AND ROBYN MALCOLM 

THE WĀNAKA BUILDER STITCHING TOGETHER KIWI FASHION HISTORY | GRETCHEN LOWE’S BUTTERY PRAWN, LEMON & ROSÉ PASTA, 

PIZZA GNOCCHI AND CHOCOLATE-CHUNK BANANA BREAD | THE SOUTH ISLAND’S BEST NEW KITCHENS AND BATHROOMS

A Night of 

Glamour at 

Coastal View! 

Coastal View Lifestyle Village rolled out the 

red carpet for an exciting cabaret evening, 

hosted in the newly opened Yacht Club. 

This was part of the ongoing schedule of 

activities and events for village residents. 

With sweeping views over Tasman Bay, 

the Yacht Club has resort-style facilities 

including a restaurant, café, bar, bakery, 

massage room, gym, movie theatre, indoor 

pool, spa, library, and wellness centre. 

The village also has resthome/hospital and 

specialised dementia care facilities. 

coastalview.co.nz 

50 Clarence Drive, Nelson 

03 548 8864 

A subsidiary of 

Winner of the 2025 Innovation Of The Year award 

at the World Ageing Festival, in Singapore.

Performance by Epic Entertainment

Hello 

What better way to kick off party season (am I calling 

it too early?! Yeah, nah) than with a cover feature 

celebrating one of the most fabulous, fun, imaginative, 

distinctly local and extremely delicious new South Island 

dining hotspots – Billy’s. May this Queenstown gem (read 

more from page 22) set the vibe for the year ahead. 

Staying in Central, we’ve also uncovered a frankly 

brilliant fashion story, the tale of young Wānaka builder 

Nikolai Solakof and a captivating vintage jacket… It’s a 

must-read, on page 32. 

Heading up to the West Coast, we’ve got interviews 

with Melanie Lynskey and Robyn Malcolm (page 28) 

around their roles in Rob Sarkies’ recently released Pike 

River (essential viewing) then back down to Timaru to 

talk to celebrated Christchurch artist Kulimoe’anga Stone 

Maka (page 60) about his new exhibition utilising smoke 

and (actual) spiderweb in the most incredible ways. 

There’s also a solid nosy inside some of 2025’s awardwinning 

southern kitchens and bathrooms (page 42), and 

some delightful weekend-friendly recipes from Gretchen 

Lowe – think pizza gnocchi, raw peanut slabs and chocchunk 

porridge banana bread (find out what that is on 

page 50). 

PUBLISHER 

Charlotte Smith-Smulders 

Allied Media 

Level 1, 359 Lincoln Road, Christchurch 


EDITOR 

Josie Steenhart 

josie@alliedmedia.co.nz 

DESIGNERS 

Annabelle Rose, Hannah Mahon 

ACCOUNT EXECUTIVE 

Janine Oldfield 

027 654 5367 

janine@alliedmedia.co.nz 

CONTRIBUTORS 

Adrienne Pitts, Brand Bloom, 

Gretchen Lowe, Jen Sievers, Liz Clarkson, 

Matt Grace, Simon Devitt, Tonia Shuttleworth 

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

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

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

Enjoy! 

Josie Steenhart, editor 

Allied 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.

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6 Magazine | Contents 

In this issue 

18 

COVER FEATURE 

22 Redefining fine dining 

An historic homestead gets a fab makeover 

Resene 

Boost 

COLOURS OF 

THE MONTH 

FASHION 

32 Sewing up Kiwi history 

The Wānaka builder bringing 

back a heritage NZ brand 

HEALTH & BEAUTY 

20 Top shelf 

The potions and lotions we’re 

testing and loving 

DESIGN & INTERIORS 

36 Joy of living 

Celebrated artist Jen Sievers 

shares tips for a happy home 

42 Tile it up 

The year’s best kitchens and 

bathrooms on show 

FOOD 

50 Weekend treats 

Goodies from Gretchen Lowe’s 

cool new cookbook 

RecoveR youR 

loved fuRnituRe 

Quality fuRnituRe specialists 

www.qualityfurniture.co.nz 

Monday - tHuRsday 7.00am-4.30pm | fRiday 8.00am-12.00pm 

(afternoon appointments by request) closed WeeKends 

424 st asapH stReet | Re-upHolsteRy specialists 

pHone 371 7500 oR KeitH HaRtsHoRne 027 566 3909

‘I Want’ vs. ‘I Will’: 

Desire and Responsibility in Real Estate 

What’s wanted by everyone? 

Real estate has its fair share of 

‘I want’ moments: I want the 

best agent, I want a sale, I want 

a listing, I want this price, 

I want that school zone. 

The list is long and getting 

longer with demands coming 

from every stakeholder involved 

in the process of buying and 

selling property. 

Consultants who want a list of things 

to match their goals or business plan, 

matched by owners who want one very 

specific thing and that’s MORE! 

This word is usually followed by others, 

most often ‘Money’ and ‘Care’. 

It’s a simple enough request and it 

makes perfect sense, but like all simple 

matters the devil is not just in the detail 

but the tone and delivery. 

Words I don’t hear enough of are: 

I will. I will do what it takes. I will open 

the home for more than 30 minutes 

once a week!! 

I will work longer, harder and smarter, 

putting you – my client – and your 

interests over my own. 

I will keep in touch, not just in the dizzy, 

early days, but way down the track when 

buyers start to feel rare and difficult. 

I will be transparent, reporting the good, 

the hard and the painful to hear, not just 

the short and sanitised. 

[As I write this, I’m reminded of a 

property we are endeavouring to sell in 

another region. We haven’t heard from 

our agent or their team in over three 

weeks, so there are some strong ‘I want’ 

conversations coming!] 

I will also market your home with 

intelligence and flair, and if I do utilise AI, 

I will ensure the marketing content still 

makes sense. 

I will chase every lead and liaise with 

every agent (in our own brand that 

means 500 consultants) who may have 

someone with interest. 

You see, I regard the ‘yes, I will do this’, 

as a commitment that should comprise 

part of every realtor’s DNA. 

Now some ‘I will’ commitments for the 

owners: 

I will acknowledge your expertise and 

recommendations on how to get the 

best result. 

I will provide you with all the information 

you require to satisfy a purchaser's due 

diligence. For example, I will explain clearly 

to you that the insulation is not throughout 

the whole house (even if I initially told you 

that it was) or that the underfloor heating 

is limited to the bathroom and kitchen. 

I’ll also do my best to ensure my home is 

presented in a manner that attracts and 

maintains the attention of potential buyers. 

As an owner selling, I will do all these 

things – and the vast majority do this 

and more. 

There are also some ‘I will’ statements 

for buyers: 

If I make an appointment to view a 

property with you, I will turn up, so 

you don’t have to drive for miles and/ 

or stand waiting for me at a home I’ve 

moved on from. 

I will also let you know if there’s a chance 

that even after saying I want a modern 

three-bedroom townhouse I might buy 

a 100-year-old villa! 

Yes, all these things happen – and 

frequently. 

If these things can be achieved, I’ve got 

my own personal ‘I wants’ and ‘I wills’: 

I want to remain an integral part of an 

industry I love and have worked hard in 

and on for over three decades. 

And I will do everything I can to sustain 

that whilst balancing 50 balls in the air, 

trying not to fall over or be hit by one. 

Not easy. 

Lynette McFadden 

Harcourts gold Business Owner 

027 432 0447 

lynette.mcfadden@harcourtsgold.co.nz 

PAPANUI 352 6166 | INTERNATIONAL DIVISION (+64) 3 662 9811 | REDWOOD 352 0352 | PARKLANDS 383 0406 | 

SPITFIRE SQUARE 662 9222 | STROWAN 351 0585 | GOLD PROPERTY MANAGEMENT 352 6454 | 

SPITFIRE PROPERTY MANAGEMENT 027 772 1188 

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

harcourtsgold.co.nz

8 Magazine | Contents 

50 42 

OUR COVER 

Inside Queenstown’s 

newest dining spot Billy’s. 

Photo: Simon Devitt 

Resene 

Athena 

READ US ONLINE 

Resene 

Baring Head 

ARTS & CULTURE 

28 When Melanie met Robyn 

The stars of new film Pike River take us 

behind the scenes 

60 Mixed media 

A Canterbury artist uses smoke and 

spiderwebs in his latest exhibition 

64 Book club 

Great reads to please even the 

pickiest of bookworms 

REGULARS 

10 Newsfeed 

What’s up, in, chat-worthy, cool, 

covetable and compelling right now 

18 Most wanted 

A few of our favourite things 

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 

Nelson 

Saturday 29 November 

Founders Heritage Park 

Geraldine 

Saturday 14 February 

HiltonView 

www.gintasticnz.com

䐀攀猀椀最渀攀爀昀愀猀栀椀漀渀椀渀猀椀稀攀猀㐀 ⬀ 

㜀嘀椀挀琀漀爀椀愀匀琀 Ⰰ 䌀栀爀椀猀琀挀栀甀爀挀栀 

アパート昀爀攀攀挀甀猀琀漀洀攀爀瀀愀爀欀猀 

䘀攀愀琀甀爀椀渀最䐀攀攀愀渀攀䠀漀戀戀猀 Ⰰ 䔀氀洀 

愀渀搀䌀甀爀愀琀攀戀礀吀爀攀氀椀猀攀䌀漀漀瀀攀爀 ⸀ 

眀眀眀 ⸀ 稀攀戀爀愀渀漀 ⸀ 挀漀 ⸀ 渀稀 

稀攀戀爀愀渀漀

10 Magazine | Newsfeed 

Newsfeed 

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

specially compiled for those in the south. 

More tipple, less tipsy 

Elemental Distillers, the boutique Marlboroughbased 

gin distillery behind the award-winning Roots 

gin, has a new drop set to change the low alcohol 

game: Roots Light Marlborough Spirit (RRP$55). 

A spirit constructed to deliver the same flavour 

profile of a full-strength London Dry gin at only 

14% neat and 2% when made into a G&T, it’s 

distilled with pioneering technology to maintain the 

unique flavour profile of a classic full-strength gin. 

rootsdrygin.com 

Fashion Week faves 

Having rifled through the stacked three-day schedule 

of public-facing fashion shows, designer-hosted events, 

panel talks and much more, here are two of our top 

picks from the bespoke version of New Zealand Fashion 

Week coming to Ōtautahi November 7-9, 2025. Hosted 

at the fabled James Hay Theatre inside the Christchurch 

Town Hall, THE ICONIC presents The New Guard 

will see the brand unveil its newest collections from 

exclusive designers LOVER & minima esenciales, followed 

by a curated edit of New Zealand’s next generation of 

fashion designers including Harris Tapper, Claudia Li, 

Wynn Hamlyn, Adrion Atelier, Caitlin Crisp, Rebe and 

Rory Docherty. Saturday night sees a runway show that 

promises to be the ultimate celebration of local fashion, 

showcasing looks personally selected as their in-season 

standouts by the likes of Juliette Hogan, Kathryn Wilson, 

Karen Walker, Ruby, Kowtow, Knuefermann, twenty-seven 

names and more. Let the outfit planning begin! 

nzfashionweek.com 

Quacking good 

Exciting news for South Island ice cream fanatics, 

much-loved Duck Island has opened the doors of its 

very first (and very pink) Christchurch store, featuring 

all the creative flavours and forms (scoops, sundaes, 

floats and sandos) that have made it a cult favourite. 

To show some local love, they’ve already mixed up 

a delicious collab with Grizzly Baked Goods – Toast 

& Jam – infusing Grizzly’s Midnight sourdough into a 

toasted milk ice cream with notes of molasses and 

roasted malt, then swirling blackberry bayleaf jam and 

Demerara sugar sourdough biscuit crumbs through it. 

duckislandicecream.co.nz

Vienna 3 Seater Sofa $2,215 

Vienna Armchair $1,140 

OUTDOOR COLLECTIONS 

Santos 3 Seater Sofa $4,100 Santos Armchair $1,690 

179 Blenheim Road, Riccarton, Christchurch 

Havana 3 Seater Sofa $2,680 Havana Armchair $1,100 

T. +64 3 348 0815 www.lewisandco.nz


Stilettos in the vines 

Arrowtown, get ready to party in style! Join 

Kathryn Wilson and Breast Cancer Cure for 

an evening of New Zealand’s finest footwear, 

fashion and music all in support of raising 

funds and awareness for vital breast cancer 

research in Aotearoa. Set against the stunning 

backdrop of The Bakehouse at Ayrburn, enjoy 

bubbles and a summer cocktail on arrival, 

with substantial canapés served throughout 

the evening. Bid on incredible silent auction 

items, get up for a dance to Sweet Mix 

Kids and celebrate fashion at its finest with 

Kathryn Wilson’s Summer ‘25 collections on 

the runway. Known for her joyful and playful 

catwalk presentations and her love of colour 

and beautiful shoes, Kathryn’s latest collection 

is set to impress. 

breastcancercure.org.nz 

Brit flicks 

Cinephiles with a penchant for British 

(and Irish!) films will be frothing at 

the lineup for this year’s British Film 

Festival: from Dead of Winter with Emma 

Thompson as you’ve never seen her 

before and Moss & Freud – the feature 

debut from Oscar-winning New Zealand 

writer/director James Lucas – to the 

much-talked-about portraits of Twiggy 

(pictured) and Marianne Faithfull (Broken 

English). The best part? There are 

screenings across the island from Tākaka, 

Blenheim, Nelson and Christchurch to 

Wānaka, Queenstown and Dunedin. 

October 29 to November 19, 2025. 

britishfilmfestival.co.nz 

Artscapes 

Arty folks, get set for another sensational summer of incredible 

(and free!) public artworks dotted across Christchurch with the 

arrival of SCAPE 2025/26! Managing curator Tyson Campbell’s 

2025 theme, The Limits of Language, invites artists to explore 

how ideas move beyond words, using public art to test the 

borders of communication, connection and expression, and we’re 

excited to see what the likes of Vaimaila Urale, George Watson 

(pictured), Gus Dark, Nicola Shanley, Sabin Holloway and Mollie 

Shaw will come up with. November 7, 2025 to February 1, 2026. 

scapepublicart.org.nz 

Photo Chelsea Ostler.

TEAM 

RENNIE & WIEBLITZ 

DRIVING VALUE, DELIVERING RESULTS 

OVER $250 MILLION IN SALES 

TOM RENNIE 

JAKE WIEBLITZ 

NATALIE FOSTER 

MIMI-JEAN CROZIER 

Residential Sales Consultant 

021 0838 3232 

trennie@cowdy.co.nz 


027 239 7176 

jwieblitz@cowdy.co.nz 


027 478 8703 

nfoster@cowdy.co.nz 


0277 560 937 

mcrozier@cowdy.co.nz 

Residential + Commercial Real Estate | Property Management 

cowdy.co.nz +64 3 355 6555 

Licensed Agent REAA 2008


Very well 

A bold new player has arrived in the women’s 

wellness space. Cadence, co-founded by 

inspirational advocate and author Jess Quinn 

and experienced business leader Katherine 

Douglas, is a supplement brand designed to 

help women better understand and support 

their bodies. Launching with three targeted 

formulations – Cycle Sister, Inositol Doll 

and Grateful Guts – each has been carefully 

developed with scientifically studied ingredients 

to address some of women’s most common 

health concerns, from cycle regularity and 

blood sugar balance to digestive comfort. 

cadencewellbeing.com 

A cracking classic 

Celebrate the start of the silly season with the eagerly 

anticipated new production of the world’s most beloved 

ballet classic, The Nutcracker. Central to Christmas 

memories for generations of audiences, The Nutcracker is 

a timeless celebration of family, fantasy and growing up. 

RNZB’s take offers a uniquely Kiwi touch that promises 

to transport audiences to the nostalgia of childhood 

holidays at the beach in Act I, before being carried 

in Act II to the snowy Southern Alps, where they’ll 

encounter a fairytale Kingdom of the Sweets – some of 

which may look quite familiar… all driven by the timeless 

magic of Tchaikovsky’s wonderful music. Live orchestra, 

conducted by Hamish McKeich, will accompany 

performances in Wellington, Christchurch and Auckland. 

Christchurch: November 12-16, Dunedin: November 

21-22, 2025. 

rnzb.org.nz 

Kiwi ingenuity 

Brayden and Conor were two mates on a mission to make it 

easier to enjoy a drink in their favourite spot – even if that was 

at the top of a mountain. “Easys started out as a ‘what if’ idea 

while hiking in Mt Aspiring National Park here in Aotearoa,” 

they say. “Fast forward to now, we’re proud to bring you our 

non-alcoholic Easys cocktails – a lightweight, easily packable 

solution to lugging around heavy cans or bottles when you’re 

out in the great outdoors.” Currently available in Margarita, 

Mojito and Piña Colada, the next step on the journey is 

apparently an alcoholic version. Cheers to that! 

easys.co.nz

16 Magazine | Promotion 

A pint and a punt at Hornby 

The Hornby Club’s celebration of Cup Day has 

been a staple for members and locals for more 

than 20 years. 

Hornby Club GM Tim Mathews welcomes all 

to watch the race on the big screen. 

“We have a big following of sport, so 

celebrations like Canterbury’s Cup Week are a 

natural fit. We offer a thrilling atmosphere for 

those who like a bet and for those who just 

enjoy a fabulous day out. Our new facilities are 

modern and include a spacious sports bar, family 

dining and café.” 

Hornby Club offers a manned and self-service 

TAB terminal service, meat pack raffles, spot 

prizes and the all-important breakfast buffet of 

bacon, eggs and all the trimmings. 

“Our 4x6m big screen and 16 different tap 

offerings certainly helps to build the atmosphere, 

so too do the passionate punters with their 

betting tips and trotting knowledge,” says Tim. 

Book your tickets for the buffet breakfast in 

advance. Tickets are $25 per person. 

hornbyclub.co.nz

HORNBY CLUB 

HORNBY CLUB PAVILION 

An annex to the main building, the pavilion 

has become the focal point, providing 

connection to the adjacent public space, and 

establishing a shop window into the club. The 

glulam outriggers, a CLT shell and a feature 

Glulam truss the length of building espouses a 

key philosophy of RM Designs. We bring Mass 

Timber, Design for Manufacture and assembly 

into both tourism and hospitality. 

We bring Mass Timber, Design 

for Manufacture and assembly 

techniques into our projects. These 

achieve precision, accuracy and speed 

of construction , carbon sequestering 

and outstanding aesthetics. A proven 

approach across tourism , commercial 

and civic projects. 

www.rmdesigns.co.nz 

@rmdesignsnz 

info@rmdesigns.co.nz 

03 354 6341

18 Magazine | Wishlist 

Most wanted 

From parties for your palate in the form of matcha milk choc pistachios and 

a New Zealand-made sparkling albariño to mood-enhancing bedside lamps, 

cool candle collabs, cherry-hued hair tools, strawberry-splashed dresses and 

accessories to elevate your beach vibes, here’s what we’re wishlisting this month. 

3 

4 

2 

1 

5 

14 

9 

13 

15 

10 

6 

8 

11 

12 

7 

1. Salman Rushdie, The Eleventh Hour, Penguin, $38; 2. ghd Chronos styler gift set in limited edition Cherry Chic, $510; 

3. La Tribe Lola leather sandals in Black, $320; 4. Maggie Marilyn Shell phone strap in Tan, $160; 5. Sunnylife Underwater camera 

in Glitter Gold, $45 at Superette; 6. Wellington Chocolate Factory X Karen Walker matcha milk chocolate pistachios, $20; 

7. Christopher Esber X Specsavers Sun RX 05 sunglasses, two pairs from $369; 8. Deeanne Hobbs Menaka dress, $349 at Zebrano; 

9. Dan Arps X Deadly Ponies limited edition ceramic candle in Deadly, $149; 10. Baina Post-Bathe oil in Ebon Veil, $85; 

11. Hue Twilight sleep and wake-up smart light in White, $499; 12. Patti Smith, Bread of Angels: A Memoir, Bloomsbury, $39; 

13. Swift Wines 2025 Pipi sparkling albariño, $40; 14. Scarlet Period high-waist swim briefs, $58; 

15. The Virtue Seakeeper parfum 50ml, $275.

PENELOPE CHILVERS 

The Penelope Chilvers bestloved 

Cassidy Cowboy Boot 

is now available in Cordoban 

suede with intricate floral 

embossing. Strike the 

perfect balance between 

enduring style and everyday 

wearability - boots you’ll 

turn to time and again, and 

love more each time you do. 

Available exclusively from 

Rangiora Equestrian Supplies, 

www.rangiorasaddlery.co.nz 

Cassidy Suede Cordoban Cowboy Boot - Peat

20 Magazine | Beauty 

Top shelf 

From magical colour-changing lippies and playful pimple patches to cute 

fruity cuticle oils, pretty prismatic powders and the perfect brown mascara, 

here’s what the 03 team are currently testing. 

2 

5 

4 

3 

6 

1 

13 

10 

7 

12 

11 

9 

8 

1. Essano Collagen Boost Blurring wrinkle filler, $25 2. Clinique Set The Day makeup setting spray, $65; 3. the breakout hack Pocket Patch 

decorative pimple patches in Pop Princess, $28; 4. Iris Van Herpen X NARS Light Reflecting Prismatic powder, $82 at Mecca; 5. Tom Ford Soleil 

lip blush, $94; 6. Karen Murrell Magic lip stain in Frost Bitten, $37; 7. Makeup By Mario Master mascara in The Perfect Brown, $61 at Sephora; 

8. Natural Zest Rejuvenate Vitamin C and Hyaluronic Acid cream, $95; 9. Boost Lab Collagen Plump eye cream, $50; 

10. MECCA MAX Live In The Moment limited edition eyeshadow palette, $39; 11. Cuti 30ml cuticle oil in limited edition Cherry, $49; 

12. Bondi Sands Sunny Drops SPF 50+ face serum, $30; 13. Medik8 Advanced Pro-Collagen+ Peptide Cream anti-wrinkle moisturiser $184.

Promotion | Magazine 21 

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 with diplomas 

in Organic Skincare Formulation and Aromatherapy, 

I wanted to blend my medical background with the 

power of natural ingredients to create products that 

genuinely support skin health – especially for women 

navigating hormonal changes and sensitive skin. 

Moving from England to New Zealand deeply 

shaped the brand too; the name ‘Natural Zest’ 

reflects both the country’s natural beauty and the 

people’s zest for life that inspires me every day. 

What sets it apart from other skincare brands? 

At Natural Zest, I prioritise skin health over cosmetic 

quick fixes. Products are wellness-led, crafted without 

fillers or water as the first ingredient – every drop 

is packed with purpose. Instead, I use pure plant 

oils and upcycled Neroli Hydrosol, a by-product 

of essential oil production, which not only reduces 

waste but deeply hydrates, calms and balances the 

skin, leaving it nourished, radiant and revitalised. 

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? 

Many people are surprised to learn that I’ve personally 

created every product formula, and I formulate 

every product in my Christchurch laboratory. With a 

background as a nurse, I approach skincare with a healthfirst 

mindset – focusing on nourishing and supporting the 

skin and overall well-being. Every product is handcrafted in 

small batches, with intention, care and attention to detail. 

I’m also deeply committed to sustainability and ethical 

sourcing. The creams and mists use upcycled neroli 

hydrosol, a by-product of essential oil production, which 

is rich in bio-active compounds to hydrate, calm and 

balance the skin. Ingredients like marine algae extract are 

cultivated in eco-conscious facilities powered by renewable 

energy, and most of the packaging is designed to be 

recycled or reused to reduce waste wherever possible. 

At the heart of Natural Zest is a belief that skincare is 

an act of self-care, not correction. My mission is to help 

people feel confident in their skin, with products that are 

both effective and a joy to use. 

Where can we find Natural Zest? 

Online at naturalzestskincare.com, and in Christchurch at 

The Apothecary at The Tannery and Piko Wholefoods.

Feature | Magazine 23 

Redefining 

fine dining 

Transformed from Victorian family farmhouse 

to decadent dining hotspot, the latest venture 

(or should that be adventure) at Queenstown’s 

Ayrburn precinct promises plenty of surprises. 

WORDS JOSIE STEENHART 

PHOTOS SIMON DEVITT 

A 

pproach from the front, and you’d be forgiven for thinking 

it was a well-loved, elegantly proportioned but somewhat 

unassuming old farmhouse, patinaed corrugated iron roof and all 

– albeit with some impeccably manicured topiary framing the porch. 

Stepping inside, however, is an entirely different vibe. What was 

formerly the 19th-century homestead of William and Bessie Paterson 

has been transformed into Billy’s – the latest and most spectacular 

addition to Queenstown’s wining and dining destination, Ayrburn. 

“Ayrburn Farm has a rich and storied past,” says Lauren Christie, 

GM for Ayrburn’s parent company, Winton. 

“It was established in the 1860s by Scottish-born William Paterson, 

one of the region’s pioneering farmers. He named it after his 

hometown of Ayr in Scotland, with ‘burn’ being the Scottish word 

for stream – a nod to Mill Creek that runs through the property. 

“Over the decades, Ayrburn became one of the most successful 

wheat, sheep, and dairy farms in the Wakatipu Basin. It even hosted 

the district’s first A&P show in 1904, which speaks volumes about its 

role in the community. 

“The Paterson family lived and worked here for generations, and 

their legacy is woven into every stone and beam of the property – 

a story we have the privilege of continuing.” 

First opened as a tourism development in December 2023 with 

just a handful of venues in place on the former farmland (several 

also cleverly utilising existing other historic buildings on the site), 

two years on the newly opened Billy’s is the pièce de résistance in 

Ayrburn’s stable of unique establishments that includes bistro-style 

The Woolshed, buzzing wine bar The Manure Room (considerably 

more glamorous than it sounds), beautifully private The Barrel 

Room, all-day cafe The Bakehouse, gelato parlour The Dairy and 

snack/cocktail hotspot The Burr Bar. 

“The opening of Billy’s marks a defining moment in Ayrburn’s 

ongoing renaissance, building on its reputation as a must-visit 

destination for those seeking exceptional food, design and 

experiences,” says founder and developer Chris Meehan. 

“We’ve created a place that not only honours the region’s 

cultural legacy but elevates it, offering visitors an experience to 

remember, from start to finish, in one of New Zealand’s most 

picturesque settings.”

24 Magazine | Feature 

Back to Billy’s, which Lauren loves so much she got 

married there (more on that later). 

“The Ayrburn homestead, built in the 1890s, is a 

stunning example of colonial Victorian architecture,” 

she says. 

“It originally featured five bedrooms, nine chimneys, 

and was one of the first homes in the region to have 

electric lighting – a true marvel for its time. It was a 

place of warmth, hospitality and innovation for the 

Paterson family, and it’s been incredibly rewarding to 

see it restored with such care and respect.” 

Lauren says restoring the homestead and 

transforming it into Billy’s “was nothing short of a 

masterclass in collaboration”. 

“From the outset, our goal was to honour the 

building’s heritage while breathing new life into it – 

and that meant assembling a dream team. Designers 

worked hand-in-hand with heritage consultants, 

structural engineers, services experts and fire engineers 

to ensure every detail was both authentic and up to 

modern standards. In many ways, we had to rebuild 

the homestead in reverse – carefully deconstructing, 

reinforcing, and then reimagining it from the inside out.” 

And then came the interiors. 

“The styling team was given a bold brief: create 

something you’d never dare to do in your own home,” 

says Lauren. 

“The result is a riot of textures, colours, patterns, and 

art pieces that are unapologetically expressive – dividing 

spaces while somehow bringing everything together. It’s 

theatrical, it’s layered and it’s deeply personal. 

It’s a space, says Lauren, that feels both grounded in 

history and visually daring. 

“The venue’s interiors are a bold expression of 

eclectic luxury featuring velvet banquettes, chinoiserie 

wallpaper, notable artworks and richly layered textures 

that create an atmosphere where history is honoured 

and indulgence is elevated. 

“All of it is a tribute to William (Billy) and his wife 

Elizabeth (Bessie) – two pioneering spirits whose 

legacy still echoes through every floorboard, beam and 

brushstroke. Their story inspired us to be brave, to be 

bold, and to build something truly unforgettable.” 

If you had happened upon the homestead from the 

back, FYI, you would have had much more obvious 

clues that something special lay inside.

“The styling team was given a bold brief: create something you’d 

never dare to do in your own home. The result is a riot of textures, 

colours, patterns, and art pieces that are unapologetically expressive 

– dividing spaces while somehow bringing everything together. 

It’s theatrical, it’s layered and it’s deeply personal.”

There, a bespoke glass conservatory extends the 

dining space outdoors, offering views of the surrounding 

gardens and local mountain ranges. 

“Inspired by traditional orangeries, the conservatory 

offers year-round dining in a setting where glass 

windows frame the changing scenery like a work of art,” 

says Lauren. 

And as with all things Ayrburn, there are always 

more surprises. 

“Well, if you wander through the topiary garden 

beside Billy’s conservatory, you might notice something... 

slithery,” says Lauren. 

“Hidden as a sculpted hedge is a snake – crafted with 

a wink of whimsy and a nod to the unexpected. It’s one 

of those delightful details that makes you look twice 

and smile. That garden, much like the rest of Ayrburn, is 

full of surprises. Every corner has a story, every detail a 

secret waiting to be discovered.” 

Which brings us back to her wedding – which was 

also the first event to be held at Billy’s. 

“It was incredibly special,” says Lauren. 

“My husband and I were honoured to be the first to 

celebrate at Billy’s, even before it officially opened. The 

team went above and beyond to make it unforgettable. 

“We dined in the Conservatory – also known as the 

Orangery – which was lovingly built by my husband 

through his company, Diemarco Projects. Designed as 

a modern homage to the grand orangeries of the past, 

it’s a space that blends elegance with warmth, tradition 

with innovation. 

“Sitting under the stars, surrounded by the scent of 

fresh florals and the hum of quiet celebration, it felt like 

we were part of Ayrburn’s living history.” 

In another of Ayburn’s imaginative twists, the Billy’s 

menu pays homage to local history too – this time in a 

nod to the first Chinese settlers in the region, who in the 

1860s played a significant role in the Otago gold rush. 

“To us, it made sense that the menu needed to 

reflect the history and heritage of the local area of 

Arrowtown, which would also give the Billy’s menu a 

point of difference from our other Ayrburn venues,” says 

executive chef Richard Highnam.


“Designed as a modern 

homage to the grand 

orangeries of the past, it’s a 

space that blends elegance 

with warmth, tradition with 

innovation. Sitting under 

the stars, surrounded by the 

scent of fresh florals and the 

hum of quiet celebration, 

it felt like we were part of 

Ayrburn’s living history.” 

“Steeped in Chinese heritage, Arrowtown and 

its goldmining history is now honoured across our 

Chinese offering. We’ve drawn inspiration from the 

region’s history and created a menu that honours that 

legacy while creatively embracing the new. Each dish 

tells a story – rooted in tradition, elevated with local 

ingredients, and designed to be shared.” 

This ethos, says Richard, is reflected best “probably in 

the dumplings.” 

With options like har gow prawn truffle, wagyu 

beef siu mai and black crystal squid and crab, Richard 

says they’re made in house by ‘Aunty Lu’ and are fast 

becoming iconic in the area. 

There’s crayfish mantou (steamed buns) with XO, 

steamed egg custard with paua, freshly shucked oysters 

with smoked chilli oil and sesame crumb, bang bang 

chicken, sweet and sour pork, whole market fish 

steamed with white soy, ginger, coriander and spring 

onion, fiery beef hotpot, fried rice, king crab legs cooked 

kung pao style or with black bean and salted chilli. 

“And of course there’s the Peking duck with hoisin 

sauce and pancakes, which will always be a crowd pleaser.” 

He describes the craftsmanship of the Billy’s dining 

offering as “exquisite, and beautifully showcased with 

dishes such as our dumplings and mushroom bao buns 

that are made and painted to look just like mushrooms”. 

“And the special item that no visit is complete without 

is ‘A Bump with Billy’.” 

The venue’s exclusive offering, guests can kick off their 

dining experience with a 30ml pour of Billy’s signature 

cocktail, Infinite Wisdom – featuring a toasted sesame 

washed rum – paired with a luxurious bump of Imperial 

Oscietra caviar. 

So with Billy’s, the “jewel in Ayrburn’s crown” 

complete, what’s next? 

“Let’s just say Ayrburn has a few secrets up its sleeve 

– and we’re not shy about mixing a little mystery with 

our magic,” says Lauren. 

“You might stumble upon a moonlit jazz session in 

The Barrel Room, or find yourself dining with the stars 

(literally and figuratively) in the Billy’s conservatory. 

There’s talk of crayfish adventures, beauty rituals tucked 

away and sunrise yoga by Mill Creek – but only if you 

know where to look. 

“And if you’re lucky, you might catch a glimpse of 

something new before it’s officially unveiled – we do love 

a good surprise. Ayrburn is always evolving, and we like 

to keep things deliciously unpredictable.”

When Melanie met Robyn 

Two of New Zealand’s most beloved screen stars – Melanie Lynskey and 

Robyn Malcolm – on filming in Greymouth, the power of female friendships 

and the responsibility of playing West Coast best friends Anna Osborne and 

Sonya Rockhouse in Robert Sarkies’ much-anticipated Pike River. 

PHOTOS MATT GRACE


The real life Anna Osborne and Sonya Rockhouse [played 

by Robyn] have a strong bond… 

When I first read the script, I was struck by how beautiful 

the depiction of the female friendship was. It was something 

that I hadn’t seen too often in a screenplay. Just this 

wonderful friendship between these two middle-aged 

women who find strength in each other. 

I loved the idea of getting to the story through the kind of 

love story that they have with each other. With the character 

of Anna there was a strength she had that I related to. 

There’s a toughness, she’s funny, very funny. And I also really 

related to her love for Milt and her fight for justice for this 

man she felt that way about. I thought it was really beautiful. 

I enjoy reading things where women don’t behave perfectly 

and there’s a lot of complications with Anna’s relationships 

with her kids in the movie and in real life. She’s talked to me 

a lot about that. Just how much she missed Milton, how hard 

it was for her to be a mum and also continue on in this fight 

for justice. 

That sort of complication within the story was really 

interesting to me too. I love how this relationship is depicted. 

I love how specific it is, I love how funny it is, and how much 

they care for each other. And it’s something that I just don’t 

think we see enough of in movies. 

My female friendships are the most important relationships 

in my life, honestly. And to see it depicted on screen in such 

a true and honest way is something that was very meaningful. 

And that was the number one thing when I read the script 

that really drew me to it, because it felt so honest. 

How does Anna evolve through the film? 

Anna changes so much through the film. It’s such a beautiful 

journey and it really goes in waves. She starts out as a sort 

of happy wife who’s living a life that she’s genuinely content 

in, then that’s taken away from her. She goes through 

illness, she goes through heartbreak, she goes through 

an estrangement from her child. And then she finds this 

friendship with Sonya and starts to build herself back up 

again. It’s kind of a hero’s journey. 

Melanie, tell us about returning to New Zealand 

to make Pike River? 

I felt honoured to come back to New Zealand and 

be part of telling this very New Zealand story. It 

feels really emotional. Certainly, when we were 

filming on the West Coast, you felt the emotion in 

everybody that you talked to about it. 

Everybody in New Zealand knows the story and 

everybody knows how big and how devastating it 

was. It’s such a huge tragedy. These families felt so 

overlooked and so not listened to and were made 

to feel completely unimportant at times when 

they’d lost the people who were closest to them. 

I think it’s important to honour those men who 

were lost and to honour the families who’ve been 

fighting for justice and fighting to get their loved 

ones back home. And so I have really felt this huge 

responsibility to be part of telling this. 

How did Anna and Sonya change each other? 

First of all, I think they gave each other a reason to keep 

going, and their shared sense of humour, the things that they 

both love that allowed them to find their life force again. 

Anna gave Sonya a confidence that she didn’t know that 

she had and I think that Sonya has just been the support for 

Anna that she didn’t know she could have without Milt, so it’s 

been a really beautiful relationship. 

How was it working with Robyn Malcolm? 

I hadn’t worked with Robyn before so I was so thrilled 

when I heard she was doing this. She has exceeded my 

expectations which were very high I’m realising; but she’s all 

of that and more. 

I’m so grateful for the closeness that we have because I 

think you can kind of fake being in love; you can kind of fake 

romance, but actual intimacy with a friend you can’t really 

fake. So I’m very grateful that we haven’t had to pretend that 

we like each other – it would have been torture!


Robyn, could you talk to the importance of the Pike 

River story? 

This film maps out exactly what happened in terms of 

authorities and government over that time and how 

awful it was and what they put those people through and 

the amount of dishonesty around it. 

I mean we all kind of vaguely knew that. I knew maybe 

a bit more about it because I was close to Helen Kelly 

[the trade unionist who worked for improved safety 

standards and justice for the Pike River miners’ families, 

played by Lucy Lawless in the film], but I don’t think New 

Zealanders really get what those people went through 

and what was completely avoidable. 

So there will be some necessary and very sobering 

surprises. Then the other side of it that makes it very 

special is the fact that these two women spearheaded 

a fight against it. It is ‘David and Goliath’ but it was a 

particularly cowardly and scurrilous Goliath, and I hope it 

makes people angry. I was angry when I read it. 

Tell us about the responsibility of taking this role? 

Sonya and Anna are national heroes but also had been 

through something so awful and so painful, so there was 

a double sense of responsibility. 

There was this quite weighty thing around it… then 

when we met them in the rehearsal room, we were 

cackling away like crazy bitches in about three minutes 

because they are just so funny. 

They put us at ease because of course they’ve 

lived it, they’re no strangers to their story – we were 

the strangers coming into their story. Their sense of 

generosity and their gratitude and their open-heartedness 

and their realness was such a gift. 

Sonya was amazing. All the way through the shoot 

I was texting her all the time going, “How was this for 

you?” And she knew what I was doing, she was like, 

“You’re trying to get into my head”. I was like, “Yeah, 

I’m trying to get into your head. What about this, what 

about this, what about this?” because it’s all just such 

great juice, but it’s not coming from a place of emotional 

voyeurism, like “I want to do right by you and I can do 

right by you if I really know you”. I can’t believe they 

trusted us the way they did, but they did. 

What attracted you to the character of Sonya? 

The thing that jumped out at me the most was Sonya’s 

journey from someone who on the surface had next to 

no self-esteem to finding her voice and discovering a kind 

of self-confidence she’d never had before. I found that 

very moving in the story; very real and very credible. 

“Sonya and Anna are 

national heroes but 

also had been through 

something so awful 

and so painful, so there 

was a double sense of 

responsibility… then 

when we met them in 

the rehearsal room, we 

were cackling away like 

crazy bitches in about 

three minutes because 

they are just so funny.” 

Tell us more about Anna and Sonya’s friendship… 

Mel and I went out for dinner with them early on, and I 

said to Sonya, “I don’t want you to take this the wrong 

way because I know the pain you’ve been through over 

these many, many years, and Pike has taken so much 

from you, but what has Pike given you, if anything?” And 

she just put her arms around Anna and said, “Her, it gave 

me her.” 

And that just was such a beautiful thing because within 

that is an acknowledgement of shared pain and shared 

experience; which is rare and very special. This is a huge, 

epic tale, but within it is the most beautiful love affair 

between these two women. 

Anna changed Sonya in some really fundamental ways. 

Anna treated Sonya like an equal. She saw Sonya in a 

way that no one else had, accepted her, and gave her 

confidence she’d never had and a sense of self-belief. 

I think Sonya gave Anna another reason to live. I get 

a sense that when Anna would plunge into the depths 

of despair, Sonya was the one that could bring her 

out. Sonya kept Anna going. There’s a depth to these 

two women that’s not necessarily about the deep and

meaningful talks that they have, but just the fact that they 

‘get’ each other. It’s like they willingly will stand in each 

other’s shadow and give each other light when needed. 

And that to me is a sort of an alchemy that women 

have, more than anything. Sonya and Anna really love 

each other in a very non-judgmental, accepting, open 

way. I mean, the stories that they would tell about 

each other, how pissed they would get together and 

the dirty jokes, they’re hilarious. They feel to me like 

they’re shared old souls, that they’ve known each 

other for centuries. 

Tell us about working with Melanie Lynskey… 

She’s that rare bird that just sits so comfortably and 

gently in a kind of a reality. So I had a huge admiration 

for her. When we met, probably because we knew the 

job that we were about to do, we’d already jumped 

a few steps. So it was like, “Hi, you’re my friend.” And 

we said that to each other a lot in that first week, we’d 

go, “Oh my god, isn’t this amazing? Imagine if we hated 

each other, that would be terrible!” 

So we then discovered that actually we really, really, 

really, really liked each other. So now we’ve got to the 

end of it and we’re like, “Oh no, you’re one of my best 

friends for life now.” And we’re getting tattoos. 

We went out for dinner every night when we were in 

Greymouth because we just thought we need to get in 

there with each other. 

Parts of the film are shot in Greymouth… 

To begin the shoot in Greymouth was really key because 

going into a place like that, I feel like it affects you on 

a cellular level. It’s like you come in and you know the 

legend, you know the story of Pike, and then you sit in 

the town and you can just feel it in the hills. Knowing that 

all those years ago they were on this street, there were 

cries of anguish. 

All of that is so visceral and affecting and it immediately 

made us feel… it’s very grounding – because I think 

it makes you feel like right, okay. You always have 

a responsibility to the story you’re telling, whether 

it’s completely fact or fiction or whatever. There 

was something extra there because we felt a real 

responsibility to the people and to the place.


Stitching a legacy 

A rare vintage fashion find has seen Wānaka builder Nikolai Solakof 

swapping hammers and nails for sewing machines and Japanese canvas. 

INTERVIEW JOSIE STEENHART | PHOTOS BRAND BLOOM 

Nikolai, tell us about the original jacket that started 

this whole journey for you… 

I’ve always liked vintage gear and a bit of a bargain. I’d 

been collecting jackets from overseas vintage shops, 

usually canvas pieces. I really like 90s jackets and how 

they age. 

That’s when the first Oscar Eide jacket fell into my lap 

via a listing on Facebook Marketplace from a Canadian 

who was leaving town. I was amazed, first by the quality 

and the design of it. 

It felt like New Zealand’s answer to Carhartt in 

America or Barbour in England, but with some uniquely 

Kiwi design traits like the leather collar, huge utility 

pockets, and horse riding vents. 

I couldn’t believe we made something like this in New 

Zealand. I thought it was a remarkable discovery, yet 

no one seemed to know anything about it online. That 

mystery is what hooked me. 

What inspired you to relaunch the label? 

In the first six months of having the Oscar Eide jacket, I 

kept going back to research the story online but couldn’t 

find anything. I became obsessed with trying to find out 

what happened to this brand. 

After having no luck online, I decided to drive up 

to the original home of Oscar Eide in Whanganui 

and have an ask around. I asked people on the street, 

people at the council, and at the museum... no one 

could really remember. 

Still, I got told to go and look at the microfiche, 

basically the old newspapers kept on record. There I 

started uncovering articles about what happened to the 

brand over the years and started piecing together the 

100-year history. 

It wasn’t until my second trip to Whanganui that a lady 

from the museum uncovered a man, Hugh Ramage, who 

wrote the book on Whanganui fashion and filled in some 

of the gaps for me. 

Tell us a bit about your background/interest in fashion? 

To be honest, to my friends and family, I was probably 

the last person they would have expected to be 

designing fashion. Out of school in Wellington, I studied 

marketing but then ended up in the family trade, working 

as a builder for many years. 

I’d always had a creative side and been quite musical 

and liked to make things, but fashion was something 

completely new to me and a bit of a challenge. It was 

something I ended up really loving to learn about, and 

over the years, with help from Iona Woolgrove (of 

Umsiko fashion studio in Wellington), I’ve developed my 

skills on the job without going to fashion school. 

I say this all the time, but it really is similar to building. 

The construction aspect is the same; it’s the design aspect 

that has been the biggest step up for me. I like to think 

being a bit of an outsider, I bring a fresh approach to 

what Kiwi design and New Zealand workwear can be. 

Talk us through the materials you’ve chosen to use… 

I searched all over the world to try and find the best 

canvas I possibly could. I got samples from everywhere, 

but one really stood out to me, and that was the Fujikinbai 

Japanese canvas. In Japan, they’ve kept a lot of their old 

mills open and still weave canvas on traditional looms. The 

hand and grain of the fabric were on another level. 

Deciding I wanted it was one thing, but creating a deal 

was another. With no luck getting in contact with them 

via email or phone, I decided to fly over to Japan myself. 

With some Central Otago wine in one hand and 

Google Translate in the other, we managed to make a 

deal and are now great friends. I’ve just returned from my 

fourth trip over there on a buying run. 

A hallmark of the originals was the leather collar, 

originally from Whanganui, where they still have the 

tannery we use today. 

What have been/are some of the biggest challenges? 

Something I’ve learned on my journey is that if you want 

to be New Zealand-made in 2025, you have to face the 

realities and limitations of making stuff here. The same 

factors that caused Oscar Eide to go under in the first 

place in the late ‘90s are still here, and, in fact, they’ve 

been turbocharged by faster fashion practices and more 

free trade with countries with lower labour standards. 

What that means in practice is that there’s no longer 

room to make New Zealand-made stuff at a low or mid 

range – you have to aim high. So that’s what I’ve done: I 

went out to make the jackets even better than before. 

The one thing you do have over fast fashion is story 

and authenticity, and through platforms like Instagram, 

you’re able to tell that story and connect directly with 

people who value quality and transparency. It’s better 

to make something great in smaller numbers than try to 

make everything for everyone.


How is it to do it out of Wānaka and why did 

you choose that location? 

Wānaka actually kind of chose me. I moved back 

to New Zealand in 2022 after an OE to help my 

dad build a house here. The family had this empty 

paddock on the outskirts of Wānaka, and so I 

moved back. That’s where I found the jacket, and 

everything happened. 

It ended up being the perfect spot to 

transplant a brand like this... The landscape and 

the people here match the product: practical, 

outdoorsy, quality minded. Wānaka/Queenstown 

really suit the brand and have the right clientele 

to keep it going. 

You started out working on the label from a 

bedroom, is that right? 

I always knew from a marketing standpoint the 

story was gold and the product would be amazing, 

if I could make it… 

However, as I was working full time as a builder, 

I didn’t have time to go to fashion school, so I 

turned to YouTube tutorials in my bedroom, 

starting on my mum’s old sewing machine and 

learning the basics. 

But to make these jackets at a professional 

level, I needed help, so I found my patternmaker, 

Iona, who helped me develop the designs into the 

first jacket and has been my mentor ever since. 

I was living in a sleepout shed in Wānaka, and 

eventually had two industrial sewing machines 

crammed in there with barely room for anything 

else. Running out of space, I made a deal with my 

parents: I’d help them build their house on one 

condition... that they’d let me use their old shed 

at the end. 

I’m now putting the final touches on it, 

converting it into a workshop space just out of 

town on the Cardrona side... a bit of a Clarkson’s 

Farm scenario. where people can come visit, 

have a coffee, and see how everything works. 

I’m hoping to have it up and running in the next 

few months. 

How has it all been going? 

Really good! The response has been amazing. 

After launching at the Wānaka Show, I’ve had to 

quickly try to put together a second winter run 

to meet demand. 

People in New Zealand and around the 

world still really respect something that is New 

Zealand-made. It’s a real testament to the power 

of storytelling, the fact that I’ve managed to have 

such sales with no physical store or retailers. 

The most surprising thing to me is the repeat 

customers... over 30 percent of my orders are 

second or third timers. 

Jackets have shipped to Japan, Portugal, the US, 

France, Australia and the UK. That’s been really 

rewarding to see. 

And where to from here? 

The goal is to become the heritage brand for Central Otago, 

something that locals and visitors can be proud of that’s 

uniquely New Zealand-made. Getting there won’t be easy 

and will take time, but we’re off to a good start. 

The plan over the summer is to open the farm workshop 

and release the new designs – new colours and a couple of 

new patterns that will hopefully push the boundaries of what 

Kiwi workwear can be. 

At the start of all this I was thinking Oscar Eide was going 

to be more menswear focused... but women have been 

some of my biggest supporters and customers. I’ve sold 

out of all the smallest sizes. Knowing that, I’ve decided to 

test myself by designing a few pieces just for them for the 

summer range. I’m excited to release the new range and 

looking forward to showing off what’s coming up. 

Any other surprises along the way? 

There really was nothing online when I went to look up the 

brand – at all. So I had to go to the original home of Oscar 

Eide, which is Whanganui. There I found more details in the 

archives on what happened to the brand, but still no old links 

from the past until recently. 

After a recent bit of media, a real blast from the past came 

out of the woodwork. His name was Barrie Brown, and his 

father basically started the brand with Oscar Eide in 1921. 

He’s now 80 and was coming to Wānaka for a ski holiday, 

so I sat down with him and did an interview. He read all 

his father’s old diaries and we pieced together early history, 

including WWII US Army canvas contracts where Oscar 

Eide really got its start, making 100,000 canvas bags and tents 

for the war. There were some really interesting old artefacts.

Shop 5, 1027 Ferry Road, Christchurch 

Phone 03 928 1690 | @ilovewinkshoesnz 

ilovewink.co.nz


The art of joy 

Renowned for her energy-infused artwork, Kiwi creative Jen Sievers’ shares ideas, 

insights and inspiration into painting a more positive life – starting in our homes. 

WORDS JEN SIEVERS 

PHOTOS JEN SIEVERS, TONIA SHUTTLEWORTH & ADRIENNE PITTS (PORTRAITS) 

When I moved into my current home I was 

nervous. Previously, I’d lived in character-filled 

(aka old) homes with interesting nooks, mismatched 

details and lived-in charm. 

Having recently separated from my husband, this 

was also the first home I had ever moved into without 

a partner, so moving into a new build seemed like a 

sensible idea – avoiding constant problems and repairs. 

The downside to new is that my home was a big, 

shiny, white box. There was zero character or soul – 

although, in a different light, I could see it as a blank 

canvas. Something I’m quite fond of for its potential. 

For the first time, I was given the opportunity 

to create a home infused with my own energy and 

intention – without worrying that I was pushing it too 

far or stepping on anyone else’s toes. As the only adult 

in the home, it was my own creative project. 

I have learned a few things while feathering this 

particular nest over the last little while. 

As a disclaimer, even though I create art for 

beautiful homes, I am not an interior designer. The 

way I have approached the interior of my home is not 

based on any specific principles or style; it has been 

guided by delight. 

During this process, I have often wondered how 

many people forgo the idea of a personalised, joyful 

home to match what they have seen in a magazine 

or on Instagram. The ideas I am sharing here might 

not guarantee that you will have a cohesive, perfectly 

designed home. 

In fact, I can almost guarantee that they won’t, 

but they will encourage you to be surrounded by a 

nourishing, joyful space that is created for you and the 

others living in it. A home that brings moments of joy 

to every day. 

CLUSTERS OF DELIGHT 

My favourite trick in creating a more joyful home is 

forming clusters of delight for my eyes to land on. I 

like to have a balance of space and things, and in the 

areas where there are objects, I aim to make them as 

delightful as possible. 

What is delightful to you will be different to what 

is delightful to me. The trick is to move past the shiny 

Instagram profiles and Pinterest boards that tell us 

what we’re supposed to have, and find out what truly 

brings us joy. Here are some of the things that bring 

me an immense amount of joy in my own home. 

CHILDREN’S ART 

I give this the same priority as adult art. I have a few of 

my daughter’s old paintings hanging in my kitchen and 

entryway and a rainbow-coloured drawing of a dinosaur 

by my best friend’s son (and one of my favourite 

humans) in my living area. They hang alongside artworks 

and objects by respected artists and, of course, me! 

PAINTINGS AND PRINTS 

I have a growing collection of artworks, mostly small, 

from a few outstanding female artists in New Zealand, 

Australia and one from Rarotonga. I choose art based 

on how it makes me feel, and a lot of how it makes me 

feel is based on the colour palette. 

ART OBJECTS 

My Pete Cromer budgies, a pretzel by Alice Berry, two 

small vases from Formantics and a macramé rainbow 

made by Fleur Woods are some of the sweet little 

objects that make my heart sing. 

TRINKETS 

Little treasures that make me smile such as my crystals, 

vases, candles, and sentimental souvenirs from travels 

or everyday life. These small pieces may not match, but 

each one holds a happy memory. 

NATURAL TOUCHES 

I love including small elements from nature in my 

everyday spaces. That could be a leaf picked up on a 

walk, a feather found on a pavement, or smooth stones 

collected with my daughter. These grounding details 

connect me back to nature and the present moment. 

EMBRACE EVERY SHADE OF GREEN 

The work-vs-reward ratio on plants is unimaginably 

good. Let’s just take a moment to appreciate the magic 

of them. These lush green beings that adorn our homes 

started their lives as tiny seeds, little specks of nothing. 

A few months or years later they are sometimes huge, 

always exquisite, living, growing things that help us to 

breathe and make us feel so darn good. We get to 

watch them silently sprout new leaves (if you ever want 

to marvel at that, get a monstera) and even flowers. 

If we stop to look at them for just a moment and 

consider each vein on every leaf, we can’t help but be in 

awe, all for the measly price of regular water and a spot 

with the right amount of sun.

Studies have also shown that plants reduce cortisol 

levels (reducing stress), improve air quality, increase 

focus, help with healing time, and make us feel generally 

happier. They truly are magic little bursts of green. 

EXPERIMENT WITH STYLES 

Think of your home as your playground – try to make 

space and allowance for everyone to find ways to 

play with it. I have an empty area in my living space – 

between the dining room and lounge – where I can 

dance. I love to dance. 

My daughter’s room is a bit of a free-for-all. I have 

resigned myself to the fact that there is Blu-Tack on the 

walls and a lot more chaos than I would have in my 

own space. 

I also let her regularly move things around and make 

little hideouts out of blankets and cushions. She has an 

alarmingly large collection of plushies that stare, smiling 

at us while I put her to bed at night. 

It’s definitely not my idea of a calm, beautiful space 

– but that’s not what she’s into right now. Her room 

is an expression of herself, and I have had to let go of 

some aesthetic values to allow it to develop. I do walk 

in and feel a complete sense of her, and for a 10-yearold 

girl, I think that’s priceless. 

In contrast, my room is a haven of tranquility and 

light. It inspires wonder and joy in me, which is my 

favourite type of play. 

ADAPT ROOMS TO SUIT YOUR NEEDS 

When I started painting again, I had all of my paints 

in a big plastic box, and in the evenings I would throw 

a drop sheet over my dining table and unpack them. 

Claiming that as my temporary creative home gave my 

practice room to grow. 

It didn’t take long for me to carve out a dedicated 

art space in the garage instead. That space grew as 

my art got bigger and more prolific. Eventually, cars 

weren’t allowed in that garage, and the lawnmower 

was moved to the shed. 

By the time I went full-time as an artist, we had 

partitioned a tiny room for tools and whatnot, 

and the rest of the garage was renovated into the 

perfect studio. 

The garage doors were replaced with glass bi-folds, 

overlooking our sweeping view of the city and harbour. 

This story illustrates that if you start with a tiny space 

for what you love, it might grow into something 

extraordinary. Your home isn’t supposed to be a static 

space – the best ones change and evolve as you do.


“The trick is to move past the 

shiny Instagram profiles and 

Pinterest boards that tell us what 

we’re supposed to have, and find 

out what truly brings us joy.” 

Sometimes I rearrange the small collection of books 

or move objects off the shelves completely to make 

space for things that I’d forgotten about. 

I like creating moments that make me smile – like my 

Pete Cromer budgies draped in the beaded necklaces, 

with my lush green little plant underneath them. 

My dining table is a wonderful playground. I have 

somehow turned it into a secular altar – a place for my 

crystals, candles and sacred objects. I do most of my 

writing at this table, so it helps me to have a space that 

feels special, and one that changes often, to keep it alive 

and noticed. 

Try this: Could you carve out a small space in your 

home for something you love? If you’re the crafty type, 

maybe there is a corner of your home (even if it’s in the 

garage) that you can pretty-up and use to create. 

If you don’t have the space for a permanent play area, 

you could have a designated temporary space and a box 

of tricks to unleash on it regularly. If you love to sing or 

play an instrument, create a zone where you can do that 

regularly. Having an area dedicated to your passion will 

remind you to do what lights you up. 

REARRANGING WILL AWAKEN YOUR EYES! 

Once we have lived with things in a certain way, they 

become invisible. Objects put there to bring us joy 

eventually become part of the furniture and no longer 

bring us out of our thoughts and into the moment. 

To counter this, I like to rearrange things often. The 

furniture and bigger things stay in one place most of the 

time, but I have plenty of areas in my space that allow 

small things to be moved and rearranged. 

Rearranging them is a joy in itself, and then noticing 

the objects again in their new places brings me back into 

the delight of the moment. Two of my favourite places 

for this are my shelves and my dining table. 

My shelves are a visual feast. They’re right in my living 

area and visible from most angles of the open-plan 

space. I take great joy in playing with the clusters of 

objects on these shelves. 

Try this: Find an area in your home where you can 

play with rearranging. Create a few clusters of objects 

in the area, then set a reminder on your phone to 

change it in two weeks. When you rearrange it, enjoy 

the process, feel the objects’ heaviness or texture in 

your hands and take in their colours. Engage with the 

objects and remember to prioritise joy in placing them. 

A SACRED SPACE 

I have a few sacred spaces in my home. By sacred, I 

don’t mean that they are created to worship a deity, 

but rather, they are made to encourage a feeling of 

quiet and specialness. These spaces are perfect for my 

joy practices or even just to show me the beauty of an 

ordinary moment because of how they feel. 

MY DINING TABLE 

As mentioned before, I have turned this space into an 

altar. I love the act of arranging my crystals, vases and 

candles on the table when I’m settling down to write. 

Even just lighting a candle makes everything feel a little 

bit more sacred. 

When people come to visit, the children pick up 

the crystals and ask about them; I encourage them 

to create their own arrangements and the ’altar’ 

becomes a talking point. Sometimes, it’s over the top 

and extravagant; other times, it’s a small candle and a 

handful of crystals. 

Every time I sit at the table, it brings me joy.

“Think of your home as your playground 

– try to make space and allowance for 

everyone to find ways to play with it.” 

Try this: Why not set up an altar space of your 

own? To help form it, figure out something you’d like 

to dedicate it to. Mine are often dedicated to feminine 

energy. You could pick a feeling or quality that you 

would like more of in your life and dedicate it to that 

(for example, calm, excitement, connection, creativity). 

Having a theme helps you to pick your objects 

and gives you an intention to pour into it while you 

arrange them. 

It helps visually to make the arrangement 

symmetrical. Try putting the tallest object in the centre 

and work your way down to the smallest. Arrange it in 

a circle, a diamond or a perfectly spaced straight line. 

Maybe everything in the arrangement is one colour? 

Extracted from The Art 

of Joy: A creative guide to 

living a colourful, juicy life 

by Jen Sievers, published 

by Koa Press, RRP$55. 

Enjoy the process and enlist your children if you 

think they might enjoy it too. Remember, this is here 

for the purpose of joy. Play with it. 

MY BEDROOM 

Every object in my bedroom has been picked to add 

serenity and beauty to the space. 

I have a brass mobile hanging in the corner, just 

where the afternoon light comes in. My monstera 

and mini monstera bring just the right amount of 

nature into the bedroom; my semi-sheer curtains add 

softness and movement to the room. Every artwork 

is beautiful and feminine and adds moments of colour 

and delight to quite a neutral space. My linen bedding 

has been chosen for its perfect colour palette to tie it 

all together. When I’m in here, I can’t help but relax.

see 

feel 

love 

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Tiling up the competition 

Featuring elegant timber, striking travertine, charcoal-hued tubs, aged bronze 

tapware, built-in coffee hubs and even a dedicated cat station – some of the 

South Island’s best new kitchens and bathrooms have been showcased at the 2025 

National Kitchen & Bathroom Association (NKBA) Excellence in Design Awards.

Interiors | Magazine 43 

ABOVE: Michelle 

Lamb’s winning 

Christchurch kitchen. 

RIGHT: Queenstown’s 

Hub Design won two 

awards for its ‘Holiday 

Haven’ bathroom. 

One of the evening’s big winners was Michelle Lamb of Michelle Lamb 

Interior Architecture for her work on kitchen and bathroom renovations 

in Kennedy’s Bush, Christchurch. 

Designed “for a busy professional couple and their two primary-school-aged 

children”, Michelle says it was important that the new kitchen “was open plan, 

had a built-in dining component and seamlessly connected with the adjacent 

dining, living and study zones for both entertaining and everyday living”. 

“The clients wanted a contemporary kitchen, preferably in a deep navy blue 

tone, with rich textures, mood lighting and as much storage as possible. This 

family spends a lot of time at home so a secondary prep area, office space and 

a coffee station were a must. They wanted a textural, furniture-like aesthetic 

with contemporary integrated appliances, timber elements, glass cabinetry, 

natural stone and a large statement island to anchor the space.” 

Michelle says one of the design challenges faced was one of the clients 

wanting symmetry, the other preferring an asymmetric look – which she 

overcame “by creating a symmetrical back wall, whilst being a little more 

playful with the island form and across the adjacent elevation”. 

The back wall symmetry is highlighted with a recessed oak frame bordering 

the cooking zone of the kitchen, which features sleek obsidian black Miele ovens. 

A “moody” combination of lacquered cabinetry in Resene ‘Foundry’, 

rich timbers, como limestone and basalt grey neolith benching form the 

contemporary new space. 

“The clients didn’t love the existing windows above, so we constructed 

a bulkhead for the cabinetry to nestle into and form the height of the 

surrounding joinery. The glazed pocket doors proved to be a bit of a 

manufacturing challenge, but for us it was important that the coffee station 

was consistent with the crockery storage along the back wall, so we played

around with different variations to achieve the right 

proportion. It was equally important that those pocket 

doors could remain open and be beautifully finished 

within, so we decked it out with some backlit antique 

brass mesh and ‘Tahoe walnut’ cabinetry.” 

Michelle says a favourite feature is the custom-made 

oak panelling, which was applied along an entire wall, 

beginning in the kitchen before being used as a backdrop 

to the TV and then finally concealing a pivot door into 

the hidden office space. 

“This element is what truly links the spaces together, 

which was their main goal when undertaking this 

project,” she says. 

Judges described the kitchen as a “beautiful” space 

“that meets the client’s brief with a rich, masculine 

palette, thoughtful material selection and excellent 

attention to detail. The glass pocket doors are well 

executed, and clever touches like the cat-feeding station 

add extra personality to this striking space.” 

Also taking away a Gold Bathroom Design Award and 

a Canterbury Bathroom Design Recognition, Michelle 

says her winning bathroom, which judges said had “real 

wow factor” was “nearing 20 years old, felt dated and 

lacked a level of luxury expected for a primary ensuite”. 

“When it came to forming a brief, ‘moody’, ‘tactile’ and 

‘timeless’ were the key words,” she says. 

“They wanted a mixture of textures incorporating greige 

and charcoal tones that flowed throughout the remaining 

spaces in the home. Lighting was crucial, with the ability 

to have multiple different circuits and control to create 

the moody setting. Generous in size, they wanted to 

futureproof for aging and to incorporate a separate makeup 

area to gain extra storage and bring that elevated luxury.” 

“We chose a striking Claybrook freestanding bath in 

charcoal, which we paired with a couple of matching 

ovo basins to complement the surrounding materials. In 

doing this, we created some space by the entrance to 

design the separate makeup nook. This provided extra 

drawer and vanity storage, the ability to tuck away a seat 

or ottoman, and a large mirror.” 

“The shower was already so generous in size, but we 

wanted to design a relaxing space that made it difficult 

to leave. Complete with two separate slide rails and a 

ceiling mounted rainhead, we also reconstructed the 

ceiling to have a recessed dimmable strip light recessed 

along the length of it to provide soft lighting in the early 

morning and evening.” 

Further “future-proofing” came in the form of a tiled 

bench seat running the width of the shower. 

“For the main tile we went with a large format 

veined travertine look to set the tone for the palette 

throughout,” says Michelle. 

“We wanted to bring in a woodgrain element, so 

our second tile was a lineal fluted timberlook ceramic. 

Anti-etched como limestone forms the vanity tops 

and upstands with timeless brushed nickel fixtures 

throughout. For some added luxury we finished the 

space with some midnight brass wall sconces – the 

perfect level of light for an evening soak.” 

Created by Candice Stanley of Christchurch-based 

Mooi Design, one of the most highly awarded kitchens 

of the night was a Timaru design for a family of four. The 

project, titled ‘Gleniti Oasis’, took home the Silver Kitchen 

Design Award and First Time Entrant Kitchen Award. 

“This kitchen was designed for a young family with two 

children,, so it needed to accommodate all family members, 

with both parents often cooking together,” says Candice. 

A designated eating area, visually separated by a 

change in materials, maintains an uncluttered cooking 

space while fostering family connection.

Interiors | Magazine 45 

“The clients envisioned a calming, earthy-toned 

kitchen with durable, family-friendly materials like 

non-porous surfaces. They wanted a long island, but 

the original plans required a join, so we reimagined the 

design to define two distinct areas. Practicality was also 

a priority, with easy-to-use handles, integrated appliances 

and generous bench space. 

Candice says a key challenge was achieving the 

luxurious look of real marble while ensuring the 

surfaces remained low-maintenance – an important 

consideration for the clients, who preferred a kitchen 

that would age gracefully without visible wear. 

“We addressed this by selecting a porcelain top that 

offered the same elegance without the upkeep, balancing 

aesthetics with functionality.” 

Judges praised Candice for her cohesive, well-balanced 

and beautifully resolved design. 

“The seamless connection between interior and 

exterior is enhanced by the generous use of timber 

and the extended island table, which add both warmth 

and functionality. The layout is clever, with the pantry 

discreetly positioned for access from both the kitchen 

and scullery, and the handle detail throughout the space 

is exquisite.” 

Carmen Hubber of Queenstown-based Hub 

Design, whose ‘Holiday Haven’ bathroom judges gave 

the Bathroom Distinction Award – up to $50k and 

a Southern Bathroom Design Recognition, says her 

winning space needed to function as a powder room for 

visitors and as a bathroom for the guest bedroom, and 

her clients were keen to maximise the room’s “extremely 

high” ceilings and create a serene, spa-like environment. 

“The budget was to be sensible as this is a holiday 

home but also contain a point of difference from the 

classic or hotel style bathroom,” she says. 

To elevate the impact of the ceilings and bring in the 

spa vibes, Carmen selected a “soft yet colourful” tile for 

the large entrance wall. 

“This striking feature extends all the way to the ceiling, 

creating a dramatic focal point and adding warmth to 

the space,” she says. 

“The tile not only emphasises the verticality of the 

room but also subtly brings the space in, making it feel 

more intimate despite the expansive ceiling height. 

“Additionally, we incorporated textured elements on 

the back wall to introduce warmth and visual interest, 

enhancing the overall tactile appeal of the room. The 

colours and patterns of the feature tile harmonise with 

the flooring, creating a seamless and balanced design. 

Aged bronze tapware was selected to enhance 

the tones in the feature tiles and to add warmth and 

cohesion to the space. 

“For the bath we chose a soft curved corner, allowing 

softness but also visually impactful. The high recess in 

the shower area is mirrored by a lower recess above the 

bath, which features soft LED lighting. This thoughtful 

design not only adds to the room’s mood lighting in the 

evenings but also provides ample space for toiletries, 

combining both form and function.” 

A large mirror reflects the feature tile across from it, 

and also integrates both soft mood lighting for relaxation 

and clean lighting for tasks such as makeup application. 

Judges called it a “beautifully appointed bathroom that 

feels visually elevated”. 

“The generous use of Travertine tiling is impressive for 

the budget, and the use of different tiles creates depth, 

interest and harmony throughout the space. Despite 

the challenging ceiling height, the space feels balanced, 

with clean lines and a simple, understated aesthetic that 

enhances its inviting atmosphere.” 

Bays Joinery’s George Molnar won the Top of the 

South Kitchen Design Recognition award for a Nelson 

OPPOSITE: Michelle 

Lamb’s bathroom 

renovation took gold 

at this year’s awards. 

LEFT: A winning 

Timaru kitchen by 

Candice Stanley of 

Mooi Design.

46 Magazine | Interiors 

RIGHT: Bays Joinery’s 

George Molnar won the 

Top of the South Kitchen 

Design Recognition award 

for this Nelson kitchen. 

BELOW: Christchurch’s 

Comber & Comber won 

a Creative Excellence 

award for this bathroom. 

kitchen forming part of a large-scale renovation of a holiday home. 

George says his clients were seeking a relaxed, beachy vibe that 

contrasted with the white tones of their primary home. As avid 

entertainers, they wanted seamless indoor-outdoor flow, with the goal 

of maximising the “stunning” beach views. 

“Moving away from the lighter tones of their primary residence, the 

design features dark-stained American oak veneer cabinetry, a natural 

granite ‘Superwhite’ island and granite ‘Steel Grey’ benchtop back wall 

and beverage centre creating a sophisticated and moody palette,” he says. 

The blend of natural textures, light flooring and carefully chosen 

furniture ensured the desired balance of beachiness and refined elegance. 

“The island serves as the kitchen’s focal point, featuring a bookmatched 

join and mitred edges,” says George. 

“In line with the client’s brief, the sink is intentionally positioned offcentre, 

preserving an unobstructed view of the beach but also dividing 

the expansive countertop into two functional zones: the sink area and 

the seating space. The generous size of the island also accommodates 

storage facing the dining area. 

“To incorporate the beverage centre, the kitchen’s side wall was 

extended into the dining room. This created space for a double bar 

fridge, Zenith hot and chilled water system and coffee machine. Metal 

doors with woven panels display glassware and bottles, adding texture 

and depth, while strategic lighting enhances the inviting ambiance, 

allowing the beverage centre to flow 

seamlessly into the dining area.” 

Winning a Creative Excellence Bathroom 

Design Award, Christchurch-based Comber 

& Comber’s entry was a primary ensuite 

designed for an established builder and his 

family building their ‘forever home’ on a 

lifestyle block in rural Canterbury. 

“A busy, sometimes chaotic family home, 

the primary ensuite design was to be a 

light, bright and unique space that reflected 

the owner’s expertise as a builder,” says 

Paula Comber. 

“Using innovative non-traditional design 

solutions creates a tranquil space that 

feels rejuvenating, spa-like, where they can 

unwind and refresh. The wish list included 

soft whites and greys, two shower rails and 

a rain head, double vanity, vessel bowls, 

playful curves with a touch of brass and 

bespoke lighting. A luxury space for the 

couple to relax.” 

“The curves were to be the focal point, 

so I carefully selected finishes that would 

complement, rather than compete with, the 

walls’ unique shapes. The subtle, repetitive 

pattern of the finger tiles highlight these 

curves, while soft grey flooring grounds the 

space. The textured, concrete-look painted 

walls provided a perfect balance between 

the two extremes. Lastly the curve detailing 

was repeated for consistency in the Lo & 

Co curve pull handles, oval-shaped vessel 

basins and the rounded style tapware.” 

To further calm the space, Caesarstone 

countertops and white vanity fronts were 

chosen for their clean, serene appeal, while 

the panelling “adds an element of luxury”. 

“Brushed brass details on the mirrors and 

feature lighting bring a touch of warmth 

and sophistication, while the brushed nickel 

tapware allows the finger tiles to remain 

the true hero of the design.”

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48 Magazine | Interiors 

Remaining neutral 

When you’ve picked the perfect shade for your space, beige (or another of Resene’s 

400+ neutrals from the iciest whites to the deepest charcoals) is anything but boring. 

Neutrals consistently rank among Resene’s most 

popular colours and it’s easy to understand 

why. They’re versatile, they can be kept simple and 

minimalist or they can be jazzed up with bolder 

contrast shades or even layers of deeper neutrals. 

Many people are also drawn to neutrals because 

they’re timeless, as well as seeming simpler to work 

with and easier to match. That’s all often true, but 

with a bit of extra knowledge under your belt you 

can really maximise the impact of your neutrals so 

they, and the other colours in your palette, really sing. 

ABOVE: Natural light gives the neutral beige of these walls a stunning 

peach-hued glow, demonstrating that an all-neutral palette need not be 

lacking in colour or warmth. Walls and window frame painted in Resene 

Half Sour Dough, with floor painted in Resene Alamo. Dining table from 

Matisse, chairs from Soren Liv, art by Katherine Thrown from Sanderson 

Gallery, vase from Ligne Roset, glasses and fruit stand from Tessuti, bowl 

from ECC. Project by Amber Armitage, image by Wendy Fenwick. 

Resene 

Half Sour Dough 

FIND YOUR NEUTRAL ZONE 

Like any colour palette, the first guideline for 

putting a neutral look together is to try and stick 

to all cool, or all warm shades. Logically that would 

seem to mean whites are cool and darker blacks 

and beiges are warm, but there’s a bit more to it 

than that. 

Resene Colour Expert Amy Watkins says all 

shades, even neutrals, are warm or cool based on 

where they sit in the colour wheel. 

“Colours, even whites and neutrals, that have 

yellow, orange or red in the makeup of the colour 

are classed as warm colours. Colours that have 

blue, green or purple in the makeup are classed as 

cool colours.” 

To see the undertones of your favourite Resene 

neutral shade, Amy suggests looking at the deepest 

version of it. For example, if you like Resene Pearl 

Lusta, look at Resene Triple Pearl Lusta and it’s easier 

to see it has a yellow undertone that makes it a 

warmer white. 

On Resene colour charts or in the Resene Whites 

and Neutrals fandeck you can also see each shade has a 

code which tells you the base undertone of the colour 

and where it sits on the colour wheel, starting from 

red at 0, through orange, yellow, green, blue, indigo 

and violet at 360. 

For example, the code for Resene Merino is Y19- 

009-076. The Y tells you that Resene Merino has a 

yellow undertone and the last three numbers tell 

you it sits in the first quarter of the colour wheel in

the yellow-orange section. This doesn’t mean Resene 

Merino is yellow or orange, but it does mean it has 

those warm undertones. 

If you want to use one neutral throughout your 

home, keep in mind it may look different in different 

rooms and at different times of the day. Everything from 

natural light, room location and size can have an impact 

on how a white or other neutral looks. One way to 

try and manage the variance is to work with different 

strengths of your chosen colour. Resene Rice Cake, 

for example, comes in half through to triple strengths, 

ranging from a crisp, fresh white in half strength, to a 

softer, creamier triple version so you can use different 

strengths in different spaces to work with the light in 

each room which still having a colour palette that feels 

like it belongs together. 

As well as working with these variations in different 

rooms for a cohesive neutral look throughout your 

house, you can layer these different strengths in one 

room to add visual texture and complexity to your 

space. Try a mid-toned off white like Resene Blanc on 

your walls with lighter Resene Quarter Blanc on trim 

areas and crisp Resene Eighth Blanc on the ceiling, 

adding decor and furniture pieces painted in more beige 

toned Resene Double Blanc and Resene Triple Blanc for 

bolder accents. 

MODERN NEUTRALS 

“We are still seeing a love for warm neutral palettes 

and earthy tones,” Amy says. “Resene Rice Cake and 

Resene Merino are proving very popular and in interiors 

we are also seeing the return of Resene Half Tea and 

Resene Quarter Tea which just proves that colours do 

come back in fashion!” 

Resene 

Akaroa 

BELOW: The use of a muted biophilic green 

on the floor livens up the restrained palette in 

this neutral room and connects it more closely 

to the natural world. Rear wall, tray and pot 

painted in Resene Akaroa and floor in Resene 

Tic Tac Toe. Couch from Danske Møbler, 

ottoman from Mocka, rug and cushions 

from Baya, curtain from Curtain Studio, mug 

from Smith & Caughey’s. Project by Amber 

Armitage, image by Wendy Fenwick. 

Resene 

Tea 

LEFT: Natural textures 

and layers of just one or 

two Resene colours make 

this living room feel fresh, 

uplifting and inviting. Walls 

and battens painted in 

Resene Tea, with floor 

painted in Resene Half Tea. 

Lamp base and coffee table 

in Resene Double Rice Cake 

and shell dish in Resene 

Half Tea. Rug from Mocka, 

throw and shell cushion 

from Adairs. Project by 

Vanessa Nouwens, image by 

Wendy Fenwick. 

There’s also an increasing trend towards 

experimenting with palest pastels, used much as 

you would neutrals to create layers of colour that 

are still subtle, clean and restrained. 

Try using pale, green-toned off-white like 

Resene Arrowroot with delicate yellow-green 

Resene Mint Julep or Resene Lemon Twist, and 

for a bolder note, add a touch of Resene Karma 

or Resene Iko Iko. The effect will be a fresh, 

layered nature-inspired space with shades that 

feel neutral even though they add subtle colour. 

Another modern spin on a classic black and 

white neutral colour scheme is to switch out dark 

navy or deep green for the black. Use complex 

darks like Resene Coast, Resene Billabong, 

Resene Celtic or even dark violet Resene 

Blackcurrant to add warmth and unexpected 

softness when paired with off-whites like Resene 

Spanish White or Resene Thorndon Cream. 

If you need help getting starting or deciding on 

the colours that best suit your home, visit your 

local Resene ColorShop, ask a Resene Colour 

Expert free online at resene.com/colourexpert or 

book a Resene Colour Consultation free instore 

or virtually or a paid home visit in selected areas 

at resene.com/colourconsult.

Food | Magazine 51 

Fun dining 

Celebrating simple (but never boring) dishes, chef, food stylist/writer/ 

photographer, recipe developer and radio contributor, Gretchen 

Lowe’s must-have new cookbook aims to help home cooks effortlessly 

elevate weekend-friendly dishes – and have fun doing it. 

WORDS & RECIPES GRETCHEN LOWE 

My love for cooking began young in Ōpōtiki, when I 

first found magic in the kitchen: I was seven years 

old when I made pink lamingtons and felt totally in awe 

of the way simple ingredients could turn into something 

quite magnificent. 

As a child and teen my afternoons and weekends 

were filled with baking, with my beautiful grandmother 

Davina at the helm, making elaborate wedding cakes for 

her customers. I also spent many hours playing at hosting 

cooking shows (with only half the cookie mix making it to 

the oven) with my sisters Bec and Bridge, who are true 

culinary magicians. 

I have been mixing, baking and sautéing my way 

through life from a very young age. 

My high-school years were filled with cooking and 

weekend catering, all sowing the seeds of my culinary career. 

And now, as a busy mum, the kitchen is still my haven; 

a place where I spend most of my time, enjoying every 

moment, be it alone, with my family or with my friends. 

There’s nothing in life that brings me greater joy than 

feeding people who love to be fed. 

Weekends are the time I get to relax and indulge in my 

passion for cooking. It’s a time when things slow down a 

little from our usually busy lives; it’s a time to reflect and 

get creative in the kitchen. 

My culinary style has been shaped by a rich blend of 

influences – from my grandmother’s exquisite baking to 

the exotic tastes of my travels and food writing career. 

My parents were both great cooks who taught me the 

basics and inspired me to discover and experiment. I 

trained as a chef and pastry chef and although this honed 

my skills, I believe the real magic has come from tuning into 

my culinary instincts and the daily kitchen hustle and bustle. 

I’ve been lucky enough to live overseas three times, 

twice in London, and once in the Caribbean. These 

experiences broadened my culinary horizons and 

inspired me to introduce new flavours into my cooking. 

My own health needs have also shaped much of 

my cooking style. I’ve had to regularly cook gluten 

and dairy free, due to an underactive thyroid and 

throughout my journey to conceive my second 

daughter, which has made me acutely aware of the 

impact food can have on my well being. 

Now that I’m a mum to my gorgeous girls, Gwyneth 

and Margot, my time in the kitchen has taken on a 

new role, that of teacher. This book is intended as 

a response to lives most of us lead. There just isn’t 

enough time to stand by the stove at length but we still 

want great things on our plate. 

My beloved husband, Blair, is a wine lover whose 

knowledge adds another dimension to my culinary 

adventures. His skills in the kitchen can be pretty 

magical, too; his famous scones are featured [in 

the book] and we’ve often made his life-changing 

orecchiette on our journeys around the world. 

Twenty years later, and we’ve cooked up quite a 

few recipes in the kitchen together, inspired by our 

adventures, and we’ve made thousands of foodie 

memories. We’ve become more attuned to our eating 

habits, enjoying smaller plates and new flavours rather 

than ‘meat and three veg’. 

To me, cooking for others is all about creating 

special moments around the table – this is where 

memories are made and friendships flourish. Whether 

it’s a dinner party, a family meal, or just entertaining 

informally, every dining experience can be special. 

LEFT: Photo Liz Clarkson

52 Magazine | Recipes 

CHOCOLATE-CHUNK PORRIDGE BANANA BREAD 

This banana bread has quite the reputation and it’s one of my most requested recipes. It’s 

featured on my table for years now and is easily whipped together in the food processor. It’s 

that wonderful blend of indulgence and nourishment that makes mornings or snack times 

something to look forward to. My girls love it – it’s so simple to sneak the good stuff in and 

they’re none the wiser! (I sneak in porridge oats that have been blended to a flour.) 

Serves 8–10 | DF 

1 ⅓ cups porridge oats 

3 ripe bananas 

1 teaspoon baking soda 

1 teaspoon vanilla extract 

Pinch of salt 

4 eggs 

½ cup olive oil 

½ cup caster sugar (it works well with honey 

and coconut sugar also) 

1½ cups thread coconut 

80g dark chocolate (at least 70%), chopped 

OPTIONAL SERVING IDEA 

Berries, coconut yoghurt and walnuts 

Preheat the oven to 180°C. Grease a loaf tin 

and line with baking paper. 

In a food processor, blitz the oats to a flour, 

add bananas and blend until smooth. Add 

the baking soda, vanilla, salt and eggs and 

pulse until just combined. Add the oil and 

caster sugar and pulse again a couple of 

times. Remove blade from the bowl and stir 

in the coconut and dark chocolate. 

Pour into prepared tin and bake for an hour 

or until a skewer inserted in the middle 

comes out clean. I love to serve this bread 

with berries, coconut yoghurt and walnuts.

Recipes | Magazine 53 

PIZZA GNOCCHI IN A FLASH 

There’s no food for the soul quite like Friday-night pizza. We’re known to eat it a little too often at my 

house, so I like to mix it up and make another favourite of mine: fried gnocchi. We’re often a bit jaded 

by Friday, so dinner must be simple yet delicious – enter store-bought gnocchi. Imagine crisp gnocchi 

meeting the melting joy of bocconcini, all mingled with the rich sweetness of smashed tomatoes. 

This is what I go for when I crave the homely flavours of pizza but want something a little bit special. 

When tomatoes get a bit pricier in winter, I use tinned cherry tomatoes or my own homemade sauce. 

Also feel free to leave out the salami and chilli flakes and use whatever cheese you have on hand. 

Serves 4 

2 tablespoons extra virgin olive oil, 

plus extra for drizzling 

500g packet gnocchi 

40g butter 

1 teaspoon dried oregano 

1 teaspoon chilli flakes 

2 cloves garlic, thinly sliced 

Salt and pepper 

180g cherry tomatoes 

Large bunch of basil leaves 

150g bocconcini or mozzarella, torn 

80g salami (optional) 

Grated parmesan, to serve 

GLUTEN-FREE OPTION: 

Swap the gnocchi for gluten-free gnocchi. 

Turn your oven to grill on a high heat, 

about 220°C. 

In a large frying pan on the stove, heat the 

oil to a medium-high heat. Add the gnocchi 

and cook until crispy, about 3–5 minutes. 

Transfer to a plate. 

To the same frying pan, add the butter and 

cook over a medium heat, stirring often, 

until lightly brown, about 1–2 minutes. 

Add the oregano, chilli flakes and garlic. 

Generously season with salt and pepper, 

reducing the heat slightly. Cook for a 

further 30 seconds, being careful not to 

burn the garlic. Add the tomatoes and 

smash with the back of a spoon as they 

cook, about 3–5 minutes. Add a little water 

if the mixture needs loosening. 

Add the cooked gnocchi and half the basil 

to the frying pan. Stir to coat, then top with 

bocconcini and salami, if using. Grill until 

the cheese is melted and slightly scorched, 

about 2–4 minutes. 

Top with remaining basil, oil, parmesan and 

season with salt and pepper.


BUTTERY PRAWN, LEMON & ROSÉ PASTA 

I love a chilled glass of rosé on a Friday night, but I really don’t mind sharing some with the 

prawns in this dish. When the wine cooks out, you’re left with a lovely strawberry, fruity taste 

that marries so well with prawns. Feel free to use any wine or leave it out altogether if you 

prefer and add extra stock. I add a little olive oil to the butter to prevent it from burning. Leave 

out the chilli if making for children. My girls love olives, so they are added to everything, but it 

is equally delicious without. It’s such an elegant meal and on the table in less than 30 minutes. 

Serves 4 

Zest and juice of 1 lemon 

1 teaspoon smoked paprika 

2 cloves garlic, crushed 

Salt and pepper 

500g prawns, thawed, deveined 

and tails off 

500g dried pasta of your choice 

(I use bowtie) 

50g butter 

Extra virgin olive oil 

1 onion, finely chopped 

½ cup rosé wine 

1½ cups chicken stock 

Small bunch Italian parsley 

½ cup green olives 

Parmesan, grated 

Crushed chilli flakes (optional) 

GLUTEN-FREE OPTION: 

Swap the pasta for gluten-free pasta. 

Combine the zest, paprika, garlic and a generous 

amount of salt and pepper in a medium bowl. Add the 

prawns and toss to coat. 

Cook the pasta according to packet instructions. 

In a large frying pan, melt the butter and a small dash of 

oil over a medium-high heat. Add the prawns and cook, 

stirring occasionally, until pink, about 2–3 minutes. 

Using a slotted spoon, transfer the prawns to a plate. 

To make the sauce, add the onion and a splash of oil to 

the same frying pan and season with salt and pepper. 

Cook over a medium heat until onion is soft, about 4–5 

minutes, stirring occasionally. Add the wine and cook 

for a minute, allowing any alcohol to evaporate. 

Add the stock and bring to a boil. Lower heat and 

simmer for 8–10 minutes. 

Stir in the cooked prawns and any juices from the 

plate, parsley and lemon juice and season with salt 

and pepper. Top with the olives, a good drizzle of oil, 

parmesan and chilli flakes, if using. 

NOTE: Leaving the tails on the prawns made for a 

prettier photo but I’d recommend no tails, maybe 

leaving one or two intact for effect.


RAW PEANUT SLAB 

WITH COCONUT 

CREAM GANACHE 

My chocolate bliss ball recipe has 

made its rounds, and now I’ve created 

a twist on the classic Kiwi peanut slab 

that’s just as delicious. It’s become 

my new go-to, perfect for when I’m 

craving something sweet but fuelling. 

Feel free to sub in almond butter 

or mix in some raisins. Sometimes, 

I even replace the vanilla with rum 

for a cheeky rum and raisin flavour. 

The rich, crunchy base combined 

with the smooth ganache makes this 

treat a crowd-pleaser while keeping it 

gluten- and dairy-free. 

Makes 16 | GF | DF 

2 cups walnuts (or almonds) 

1 cup thread coconut 

2 cups medjool dates, pitted 

3 tablespoons coconut oil 

⅓ cup crunchy peanut butter 

¼ cup cocoa 

1 teaspoon sea salt 

2 teaspoons vanilla (or rum) 

1 cup salted peanuts 

COCONUT CREAM GANACHE 

¾ cup coconut cream, heated until almost boiled 

200g dark chocolate, roughly chopped 

In a food processor, process the walnuts and coconut 

until crumbly. 

Add the dates, coconut oil, peanut butter, cocoa, salt 

and vanilla and process again until a sticky, uniform 

batter is formed. Add the peanuts and pulse to 

roughly chop. 

Press into a slice tin. 

Mix the hot coconut cream and chocolate together. 

Let it sit for 1 minute then stir through until 

thoroughly melted and mixed. Top the slice with 

Coconut Cream Ganache, slice and keep in the fridge. 

My Weekend Table: Celebrating 

simple food from Aotearoa 

and beyond by Gretchen 

Lowe, photography by 

Gretchen Lowe, published 

by Bateman Books, RRP$60.

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58 Magazine | Promotion 

DIRECTORY 

HOME & LIVING 

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with Tim Goom 

by Goom 

CREATING PRIVACY THE SMART WAY 

Structure, planting and 

the new floodplain rules 

If you’re living in Christchurch, you’ll know that privacy can be a bit of a 

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IDEATION-GOM0202

Arts | Magazine 61 

Mixed media 

Smoke, spiderwebs and metaphors are three of the key components in 

a compelling new exhibition by prominent Christchurch-based artist 

Kulimoe’anga Stone Maka at Timaru’s Aigantighe Art Gallery. 

WORDS JOSIE STEENHART 

KUMI MOE HELIAKI: Blackened Tapa and Metaphor, 

which opened mid-October with a Tongan blessing 

and dance in collaboration with the South Canterbury 

Tongan Society, marks the first time ngatu ‘uli (blackened 

tapa) has been featured in the space. 

It’s also the first time the Tongan New Zealand artist’s 

signature “spiderweb” works have been shown outside 

of Christchurch. 

KUMI MOE HELIAKI offers a body of work that is as 

quiet as it is radical, says Aigantighe exhibitions curator 

Izzy Hillman. 

“Rooted in the Tongan traditions of heliaki (metaphor) 

and kumi (blackened tapa), Kulimoe’anga’s work insists 

on depth, demanding that viewers reckon with meaning 

that cannot be contained by surface alone.” 

“Blackened tapa, or ngatu ‘uli, is traditionally 

unmarked. Its authority derives from what it withholds,” 

she says. 

“In Kulimoe’anga’s hands, that absence becomes 

presence. To some, the starkness may recall Western 

abstraction but it belongs elsewhere. It’s not minimalism. 

It’s a continuation of Tongan cosmology, a knowledge 

system encoded in fibre, pigment and smoke. 

“Kulimoe’anga’s exhibition combines traditional ngatu 

with canvas pieces, incorporating materials such as 

candlenut smoke and spiderwebs. The spiderwebs are 

literally incorporated into his work – he spraypaints 

them, and uses them to apply paint, which ends up in 

the artwork.” 

Kulimoe’anga says he drew inspiration from the 

metaphorical richness of Tongan culture. 

“Particularly the enduring art of heliaki, a form of 

metaphor that safeguards and deepens our cultural 

expression. Central to this exhibition is kumi, or 

blackened tapa, whose deliberate absence of patterns 

embodies a quiet power,” he says. 

“My hope is that viewers will engage with the work 

not just visually, but metaphorically, seeking the sacred 

meanings that lie beneath the surface.” 

Kulimoe’anga grew up in Tonga, first encouraged in the 

arts by a local teacher, before moving to New Zealand 

and studying at Auckland’s Whitecliffe art school. On 

graduating in 2005, he moved to Christchurch and has 

lived in the city since. 

“As a kid I always loved creativity, but I didn’t know 

much about the art world until I grew up,” he says. 

“I’ve been in Christchurch over 20 years now – I 

found that Ōtautahi gave me space and time to create.” 

Kulimoe’anga’s works are held in major public 

collections including Te Papa Tongarewa, Auckland Art 

Gallery Toi o Tāmaki, Christchurch Art Gallery Te Puna 

o Waiwhetū and the National Gallery of Australia. He 

was a featured artist in the 2020 Biennale of Sydney and 

in 2021 became the first Tongan artist to hold a solo 

exhibition at Christchurch Art Gallery. 

“Kulimoe’anga continues to push the boundaries of 

tapa-based abstraction, honouring ancestral knowledge 

while forging new directions in contemporary Pacific 

art. His practice centres on his rich Tongan heritage 

and identity and explores the sacred and metaphorical 

dimensions of Tongan culture, combining traditional 

materials with experimental techniques,” says Izzy. 

“Back home we collect the candlenut seeds, burn 

the meat and it produces a charcoal black colour – 

we collect that and mix it with coconut oil or other 

materials, dye or clay,” Kulimoe’anga says. 

“But over here, I also burn a lot of other stuff… I 

burn the stem of the cabbage tree and it produces a

62 Magazine | Arts 

Kulimoe'anga Stone 

Maka, KUMI MOE 

HELIAKI: Blackened 

Tapa and Metaphor, 

installation view, 

Aigantighe Art Gallery. 

brownish colour. I also burned the green leaves of macrocarpa – if you 

burn them and then put something on top it will give you a very light 

sugary colour… Walnuts, chestnuts, all of those nuts, I burned, and it 

produced a darkish colour similar to the candlenut seed back in Tonga.” 

The larger works in progress are laid along Kulimoe’anga’s driveway 

and painted there, and while the majority of the works are swathed in 

dark hues, he likes to add some colour. 

“I want a portrait, I want a little signature of myself in the work,” 

he says of the addition. 

“I love bright colour, and on a blackened tapa the only colours they 

use are black and brown, but when I do it I want to put a bit of my 

time in there – I’m in a modern time. So I put a little colour on there to 

express my time, or a feeling, you know – some happiness or something 

like that – so I decided to put on blues, greens and some bright colours. 

I like to put a bit of the modern colours in my traditional work.” 

“Kulimoe’anga was 

a featured artist in 

the 2020 Biennale 

of Sydney and in 

2021 became the first 

Tongan artist to hold 

a solo exhibition at 

Christchurch Art 

Gallery.” 

KUMI MOE HELIAKI: Blackened Tapa and Metaphor runs at the Aigantighe Art Gallery, Timaru until February 8, 2026. 

25 October - 

17 November 2025 

CLARE REILLY 

RUGGED RADIANCE, 

RAKIURA 

with sculpture by Ran Turner 

art@littlerivergallery.com 

03 325 1944 - littlerivergallery.com

KUMI MOE HELIAKI 

– Blackened Tapa and Metaphor 

Contemporary and traditional tapa works 

from internationally recognised Tongan 

New Zealand artist Kulimoe’anga Stone Maka 

18 November 2025 – 8 February 2026 

Aigantighe Art Gallery 

49 Wai-Iti Road, Timaru 

aigantighe.co.nz

64 Magazine | Books 

Book club 

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The Pilbara, late 1800s: frontier country, the wild west of Australia – a lawless, violent place 

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03 Magazine: October 31, 2025

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