03 July 2026

THE

SOUTH

ISLAND

LIFESTYLE

MAGAZINE

FREE | JULY 2026

WOMEN ROCK! CELEBRATED KIWI MUSOS BOH RUNGA, JULIA DEANS AND VERA ELLEN BRING THEIR SUPERGROUP TO CHRISTCHURCH

TOP FLORIST MELANIE STAPLETON SHARES SOME FLOWER POWER | GREAT HEIGHTS: A MULTI-AWARD-WINNING, SITE-DEFYING

QUEENSTOWN LAKESIDE STUNNER | THE ART OF TRAVEL: DUNEDIN PAINTER MEG GALLAGHER TAKES A TRIP TO THE OUTBACK

FASHION-DESIGNER-TURNED-FOODIE EMILIE PULLAR’S CREAMY PUMPKIN PASTA, FANCY MAC ‘N’ CHEESE AND PERFECT BEEF RAGU

Live the life

others only

holiday in!

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Beyond your front door, the lifestyle comes

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Celebrating 10 years of connecting Christchurch

Christchurch to the world

with China Southern

Flights to Guangzhou and onwards

to 200+ destinations worldwide –

commencing daily in November

Explore the world

Celebrating 10 years since the first

China Southern flight to Christchurch

Connect to Tokyo, Amsterdam,

London, Frankfurt via Guangzhou

Special sale fares available for

departure in November

See your travel agent

or visit csair.com

Christchurch-Guangzhou

resumes Oct 26 to March 27

with daily flights

60,000+ seats this season

across Business, Premium

Economy & Economy

BOOK NOW

Travel well. Beyond expectations.

Discover

Tokyo

Explore

Frankfurt

Experience

Shanghai

Enjoy the Guangzhou

stopover

Free hotel room, breakfast and

shuttle for transits over six hours

Complimentary city tour

& dim sum experience

No visa required

Ts & Cs apply

Enjoy

London

Hello

Those lucky enough to snap up tickets to Atomic!’s

Christchurch show on August 13 are in for such a treat!

With just some of the all-female supergroup’s highly acclaimed

musicians featured on our cover and interviews with Boh

Runga, Julia Deans and Taite Music Prize-winning Vera Ellen

(page 26) serving as tasters, their Town Hall gig promises to be

a massive night of unmissable fun covering pop rock bangers

from the likes of Blondie, Patti Smith, Kate Bush, PJ Harvey

and Madonna. See you there!

I also draw your attention to our feature with celebrated

Kiwi florist Melanie Stapleton of Cecilia Fox (page 30), for

those looking for a big bunch of creative inspiration plus tips

and tricks for unique floral arrangements.

On page 44 we showcase Dunedin artist Meg Gallagher’s

trip to the Australian Outback, which highlights the power of

travel to refresh, reinvigorate and yes, that word again, inspire.

Further inspirational reading – not to mention

mouthwatering recipes – can be found on page 50, where

former fashion designer turned foodie Emilie Pullar talks to

her major career pivot and passion for pasta.

Enjoy!

PUBLISHER

Charlotte Smith-Smulders

Allied Media Magazines

Level 1, 359 Lincoln Road, Christchurch

03 379 7100

EDITOR

Josie Steenhart

josie@alliedmedia.co.nz

DESIGNERS

Annabelle Rose, Hannah Mahon

PROOFREADER

Laura Griffiths

ACCOUNT EXECUTIVE

Janine Oldfield

027 654 5367

janine@alliedmedia.co.nz

CONTRIBUTORS

Kim Dungey, Rochelle Eagle, ImageWorks,

Isaac Norton, Gerard O’Brien, Emilie Pullar,

Samuel Richards, Josiah Smits, Melanie Stapleton

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

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

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

Allied Media is not responsible for any actions taken

on the information in these articles. The information and views expressed in this publication

are not necessarily the opinion of Allied Media or its editorial contributors.

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

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

Josie Steenhart, editor

REVEAL YOUR MOST RADIANT SKIN THIS

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8 Magazine | Contents

In this issue

22

COVER FEATURE

26 Making noise

Boh Runga, Julia Deans and Vera Ellen

hit the road with supergroup Atomic!

INSPIRATION

30 New frontiers in flowers

Florist Melanie Stapleton breaks

the rules (and encourages you

to do so too)

44 A sense of place

Dunedin artist Meg Gallagher

experiences the art of travel in

the Aussie outback

58 Par-tea time

Top high tea spots serve up their

tips for the perfect afternoon

HEALTH & BEAUTY

24 Top shelf

The potions and lotions

we’re testing and loving

DESIGN

36 The height of style

A dramatic Queenstown

home rises out of the rocks

FOOD

50 Pasta perfection

Tantalising recipes from Burnt

Butter Table’s Emilie Pullar

Get your kids off

their screens.

We'll blow their

minds instead.

School holidays at

Tūhura Otago Museum.

When ‘Not Your Job’ Becomes Your Job

I’ve just attended a national

conference for the brand I

work with and given it’s my

goal to be a lifetime learner,

I’m happy I went. Yes, it’s the

thirtieth such conference,

but the calibre of some of the

speakers and the strength of

their message cut through

any of the apathy you can

easily develop after multiple

conference attendances.

Whilst there I listened to well-crafted

debates on the likely effects of AI on

our industry and others, attended wellbeing

and communication workshops,

and got the opportunity to revisit basic

yet important aspects of connection

and service.

There is a topic I’d like to elaborate on

with this in mind.

I’ll start with the following statement:

Good service is defined by how well you

do your job.

Great service is defined by how well you

do what’s not your job.

This premise had me diving headfirst into

the ‘not my job’ space. I believe all of us,

at some time or another, have been on

the receiving end of these words.

It is a simple sentence that carries massive

connotations – which may or may not

have been intended – but it feels like a

slap or worse whenever it’s delivered.

Here’s a very recent personal example.

We had to buy a few garden sheds for

properties we were building, and we

visited a large national business to

purchase them. Four of the five sheds

had been purchased one month earlier,

seamlessly, through a young assistant

who despite working in another

department took it upon herself to help

us. The process was easy and we felt

grateful for the time and effort that was

given to us during the whole interaction.

On this new occasion, having entered the

appropriate department, the person at the

counter said he ‘didn’t know about them’

and went to get someone else who had

previously assisted him with the product.

Upon meeting that prospective helper,

we were told they couldn’t help (“it’s not

my job and he should know!”).

Two options were then offered: wait for

a third person, currently having morning

tea, to come back or leave and come

back later.

So, what to do? Remember, our previous

experience with this store had been a

positive one.

After considering everything, we did the

easiest thing for us and the worst thing

for a business: we left, didn’t make a

fuss, just thought we need to sort this

elsewhere!

So, we stayed with the same brand

(because of our initial experience) but at

a different location.

This time we were meet with enthusiasm,

which was reassuring, but were told that

the manager’s assistance was necessary.

No problem, was our response, until we

discovered that the manager considered

this to be in the ‘not my job’ category,

leaving us disappointed all over again.

Rather than supporting his colleague, he

berated him, ignored us and swished off

to do more important things.

Yes, I know, you could say this happens

in real estate too and I’m sure it does, but

not on my watch!

As leaders, if we can’t do a task required,

we’ll find someone who does, and I still

to this day clean our building, our offices,

pick up rubbish left on the pathways

outside, or help in any way possible the

people who work with us and whom we

work for.

‘Not my job’ is an affront to a client,

detrimental to a culture and a disaster for

a business. It erodes trust internally and

externally. I’d also prefer to be part of a

business that sees the outcome as being

more important than who owns a task.

And that was one of the biggest themes

extrapolated at the conference.

‘Not my job’ may be quite literally the

case if some of the not-too-futuristic

commentary around all aspects of

Artificial Intelligence and its impact on

the job market is to be believed.

But, for now, it’s not about everyone

doing everything, but it is about all of

us taking ownership in whatever we are

part of.

Can I also say that the business we were

dealing with was NOT a company with

an orange logo or the number 10 in its

name where service has always been

exceptional!

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

10 Magazine | Contents

OUR COVER

36

The Atomic! wāhine

are ready to rock

Christchurch this August.

Photo: Stephen Tilley

READ US ONLINE

50

30

REGULARS

12 Newsfeed

What’s up, in, chat-worthy, cool,

covetable and compelling right now

22 Most wanted

A few of our favourite things

64 Book club

Great reads to please even the

pickiest of bookworms

ARTS

56 A cultural journey

Artist Ana Teofilo rolls out the art

carpet at Tūhura Otago Museum

66 Last word

Motueka eatery The Smoking

Barrel’s winning wild food

FIND US ON SOCIAL

03magazine.co.nz | @03_magazine

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to your mailbox? Contact:

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NB

On page 31 of our June 2026 issue, the

Canterbury Arts and Heritage Trust,

which administers the ongoing archiving

of Philip Trusttum’s work, was incorrectly

referred to as the Trusttum Trust.

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12 Magazine | Newsfeed

Newsfeed

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

specially compiled for those in the south.

On the (doc) edge

Great news documentary film fanatics! Oscar-qualifying

Doc Edge Festival is bringing a curated selection of films

from its 2026 programme to Ōtautahi for a special

three-day showcase from July 31 to August 2, 2026. The

Christchurch Showcase will feature 13 documentary

features, a collection of Aotearoa short films and a

locally created immersive project. Opening the showcase

on July 31 is Ranginui: Call of the Ice, a powerful New

Zealand documentary exploring Antarctica’s fragile

environment and the cultural significance of its dark

skies. Across the three days, audiences can experience

stories spanning justice, conflict, creativity, technology,

identity and the environment. A special Christchurch

Collection will present four films with local connections,

including a feature film, featherStrength, and three short

films: Girls’ Flight Out, Gloria, and Jacqueline Fahey: From

Where I’m Looking (pictured). “Bringing part of Doc Edge

to Ōtautahi Christchurch is a great opportunity for our

sector and local audiences,” says Screen Canterbury NZ

manager Meg Huston. “The festival showcases world-class

storytelling, and gives our industry a chance to engage

with ideas and formats competing on a global stage,

which is hugely valuable for growth. At the same time, it

opens the door for local audiences to experience unique,

non-mainstream stories they might not otherwise see.”

docedge.nz

Say cheese

For six weeks over winter, 200 venues around

the country will serve their creative takes on

toasties, with the return of the annual Great

New Zealand Toastie Takeover. This year, South

Island venues are bringing some interesting

wild protein choices to the competition. Ferg’s

Bar (Queenstown) is entering the Silk Road

Goat Toastie (pictured) with 120-hour cured

and mānuka-smoked wild goat, while Moon

Under Water (Christchurch) has created Billy

Goats Gruff, featuring slowly cooked wild goat

shoulder, nduja and pickle brine cheese sauce.

New entrant Toastie Lords (Christchurch) is

keeping things proudly Kiwi with Wayde from

the Wahs – mince, McClure’s Pickles and four

cheeses in sourdough. Emerson’s Brewery

(Dunedin) have joined the 2026 comp with

Cluckin’ Explosive – inspired by Southern India

and made in Southern New Zealand, featuring

gunpowder chicken, bacon, McClure’s Pickles,

smoked cheddar, tomato kasundi, labneh and

curry leaves. This year’s entries are available

until August 5 when finalists are announced,

with judges travelling around the country

tasting every toastie in the competition, and the

Supreme Winner will be revealed on August 20.

toastietakeover.com

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Marine clean

Lather up for a good cause this month with Lush

Cosmetics’ limited edition lemongrass and bergamot

Māui Dolphin soap ($12 each), created in partnership

with Tāngaro Tuia te Ora, the Endangered Species

Foundation. Found only in Aotearoa, the Māui dolphin

is one of the smallest and rarest dolphins in the world,

with less than 50 left in the wild. Their habitat is being

impacted by bottom trawling, which is devastating the

seafloor, destroying coral forests, releasing carbon and

wiping out the food sources that all marine life rely on to

survive. With New Zealand at risk of becoming one of

the first countries in the world to allow a dolphin species

to go extinct, Lush aims to raise over $10,000, with 75

percent of the sales price (excluding tax) donated directly

to Tāngaro Tuia te Ora to support their vital mahi.

lush.com

For the Wynn

As much-loved New Zealand fashion label Wynn

Hamlyn prepares to shut up shop, fans of its cult

knitwear have one last opportunity to get their

hot little hands on a final release of some of the

brand’s most loved knits ($495 each), from the

iconic Yin Yang, Crystal Voyager, dual-hued Basket

Stitch and intricate Morris Jacquard sweaters to

the sweetly appliqued Flower cardigan – all in

signature 100 percent merino wool.

wynnhamlyn.com

Southern style

Celebrating its 38th anniversary in 2026 (a significant

achievement as the longest running fashion design

awards of their type in New Zealand), the muchanticipated

Hokonui Fashion Design Awards are back

with a bang! Held in Gore in late July, the awards are

firmly established as a key event on the national fashion

calendar and continue to attract entries and interest

from across Aotearoa. Since 1988, the awards have been

a competitive platform for all amateur fashion designers

to showcase their designs in front of well-regarded

industry leaders. Over the previous years the judging

panel has included Juliette Hogan, Jimmy D’s James

Dobson, Karen Walker, Trelise Cooper, Kate Sylvester,

Zambesi’s Liz Findlay, Doris Du Pont and NOM*d’s Margi

Robertson, and this year includes Dunedin designer Sara

Aspinall of Company of Strangers. Held over two big

nights (July 24 and 25), tickets go on sale July 10.

hokonuifashion.co.nz

JACKETS. KNITWEAR. DRESSES. TOPS. SKIRTS.

Winter Sale

4 Normans Road, Strowan

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


Puppy power

This August, Kiwis are being encouraged to leash up, step out and walk for

a good cause as Pawgust returns to support the next generation of Blind

Low Vision NZ guide dogs. With the core message ‘Walk for them, so they

can lead the way’, Pawgust invites people across Aotearoa to walk 60km,

100km or 125km during August, while fundraising to help breed, raise and

train guide dogs for New Zealanders who are blind, deafblind or have low

vision. Whether you’re walking solo, with friends, whānau, workmates or

side-by-side with your dog, Pawgust is a simple way to get moving through

winter while supporting guide dogs who will one day help their handlers

move through the world with greater confidence, safety and independence.

pawgust.co.nz

Party arty

Canterbury Arts and Heritage Trust celebrates its 30th anniversary this year.

Established in 1996 to support and promote artists in and from the Canterbury

region, it has produced community events reaching across all art forms,

including classical music, theatre, photography, painting and sculpture, and was

commended by the Human Rights Commission in 2005. Major projects include

the book Inner Landscapes (pictured), published by Canterbury University Press

in 2009, featuring 15 significant Canterbury artists speaking about their work,

ARTiculate (articulate.org.nz) – a major documentary project featuring video

profiles of local artists discussing how their lives were impacted by the quakes

and an online gallery of their creative responses – and The Great Art War, a

CAHT-commissioned musical by Stuart Hoar and Philip Norman that was

produced by The Court Theatre for the Christchurch Arts Festival in 2013.

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SKELLERUPFOOTWEAR.COM / @SKELLERUPLIFESTYLE

MMARY

TURNBULL

“I've loved opening

the door to so many

incredible houses in

Christchurch.”

No. 16

Harcourts Sales Consultant

Christchurch 2025-2026

$845 MILLION

In excess of

in settled sales

“It's always an

absolute pleasure

working on behalf

of my owners and I

know they've derived

great benefits from

my wisdom and

expertise.”

If you want to talk

about your property

and how I can help

contact me today!

‘‘

All of this wouldn’t have been possible without the enduring and

world-class support of Polly and John McFadden, and Chris Kennedy.

I love being a part of the gold legacy. - Mary

‘‘

03 352 6166 or 0275 252 959

mary.turnbull@harcourtsgold.co.nz

LICENSED SALES CONSULTANT REAA 2008


Puffed up

Local fashion fave Briarwood has ensured our cosiness

this chilly season with not one but two chic insulated

jackets ($399 each) in hues from Ink and Charcoal to

Tan, Khaki and Black. Designed for effortless winter

layering, the Rhodes padded jacket (pictured) blends

warmth, function and refined detail. Lightly filled with

plush fibres, it delivers cosy insulation without the bulk,

while a high collar with an invisible magnetic closure helps

seal in heat on colder days and an elastic pull-through

at the back with adjustable toggles creates a flattering,

secure fit that moves with you. One of Briarwood’s

bestsellers, the iconic Chapman quilted jacket is back for

winter 2026. Enveloped in a plush quilted swirl design and

with a versatile collar that can be worn up or down, it

promises not only warmth but an elevated sense of style.

briarwood.co.nz

Book it in

Not just wine country – this July 24-26,

Marlborough shifts its attention from

vineyards to books with the annual

Marlborough Book Festival taking over

the town. First launched in 2014 and

run by book-loving volunteers, 2026’s

event features a massive 17 authors –

including Catherine Chidgey, Elizabeth

Knox, Witi Ihimaera Smiler, Rachael

King, Noelle McCarthy, Naomi Arnold,

Ingrid Horrocks, Dominic Hoey and Peta

Carey – speaking across 20 sessions over

one wonderful weekend. A dollar from

every ticket goes towards supporting

children’s reading in Marlborough.

marlboroughbookfest.co.nz

Enjoy the views over Victoria Square while you indulge in

handmade pastries, fresh scones, traditional sandwiches, T2

teas and Telmont Champagne. This elegant High Tea is the

perfect way to celebrate a special occasion, or to treat yourself.

Book your table for a truly memorable experience at

Crowne Plaza Christchurch.

christchurch.crowneplaza.com/high-tea-christchurch


Martino Gamper, Endgrained, 2026, Objectspace in Tāmaki

Makaurau Auckland. Photo Sam Hartnett

Take a seat

Renowned for creating objects that celebrate the joy

and beauty of everyday things, Italian designer Martino

Gamper (yes, of the Arnold Circus stool) reimagines

Christchurch’s Objectspace gallery as a social space for

encounter and interaction in Endgrained. Across a new

body of furniture focused on chairs and tables, visitors

to the gallery are invited to use the space to dwell,

meet or play. As well as hosting events within the

exhibition, Martino and Objectspace invite the public to

book the gallery, for free, for their own use – be it for

a rehearsal, family gathering or public meeting. Taking

the form of a common space, the spatial layout of the

exhibition changes over time, altered by the visitors

who use it and shape the furniture into their own

configurations. July 18 - September 6, 2026.

objectspace.org.nz

Berry sleepy

Christchurch-based B Corp-certified beauty and

wellness experts Jeuneora have revealed the latest

iteration of their award-winning Beauty Sleep – in

a limited-edition Berry Brownie flavour. A sell-out

when it first launched and amassing a devoted

following since, Beauty Sleep ($79) is Fairtrade

certified and designed to support sleep, mood,

stress and energy. The natural sleep supplement is

Jeuneora’s best-selling product, with over 2 million

better sleeps served since its launch in 2022. Like

the OG, New Zealand-made Beauty Sleep Berry

Brownie is free from dairy, gluten, artificial additives

and GMOs and contains scientifically studied

pistachio extract with functional mushrooms for

whole body support. Every ingredient is dosed at

scientifically researched levels. “As we head into

the winter with shorter days, we wanted to launch

this fun limited-edition flavour for those who want

to focus on their evening rituals and healthy sleep

patterns,” says Jeuneora founder, Monique Kaminski.

jeuneora.co.nz

Pink with purpose

This year marks 23 years of ghd supporting

breast cancer charities globally, with more

than $25.5 million raised worldwide to date.

Locally, ghd is partnering with Breast Cancer

Foundation NZ, donating $20 from every

purchase of the new Dusted Pink limited-edition

collection to BCFNZ. The 2026 collection

features some of ghd’s most-loved tools in a

covetable light pink colourway, including the ghd

chronos (yes, it also has a heart print), chronos

max, duet blowdry, helios, gold and curve grand

tong. Priced from $340, each tool also comes

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DESTINATION WINE

Located in the heart of Gibbston, Kinross combines premium wine experiences

in the architecturally designed cellar door, seasonal dining in the bistro and wine

garden, and cosy cottage stays, all amongst the vines of a working vineyard.

Kinross offers a unique Central Otago wine experience,

bringing together award-winning wines from five

celebrated wineries under one roof: Hawkshead, High

Garden, Valli, Wild Irishman and Kinross.

“The world of wine is steeped in tradition, yet

we’re fortunate to stand on the shoulders of industry

pioneers who inspire us to see things differently,” says

James Thomas, CEO of Kinross.

“At Kinross, we create memorable wine experiences

that stay with people long after they leave and make

them excited to return. Experiences that uncover the

stories living in the vines, resting in the barrels and

waiting beneath the dark skies of Gibbston.”

CYCLING THROUGH THE VALLEY OF THE VINES

Cycling is one of the best ways to explore Gibbston and

the wider Central Otago region. The Gibbston River Trail

connects Kinross with neighbouring wineries, offering

a scenic ride through vineyard landscapes through to

Arrowtown and the Queenstown Trails.

From September 19, 2026, cyclists can also experience

the new Kawarau Gorge Trail, a spectacular 32km

Great Ride linking the Gibbston Valley with the dramatic

landscapes of the Kawarau Gorge, and connecting through

to Cromwell and the wider Central Otago trail network.

Whether you’re looking to refuel with a leisurely lunch

and wine tasting or rest tired legs with an overnight stay

among the vines, Kinross is the perfect stop along the trail.

WINTER ACCOMMODATION OFFERS

Escape to the heart of Gibbston to relax and recharge

among the vines at Kinross Cottages, nestled within

the Kawarau Gibbston Dark Sky Park.

Choose from the Staycation Package ($299 per night

for two, including breakfast) or the Ski Season Special

($349 per night for two, including breakfast and dinner).

Both offers include a Classic Wine Experience for

two at the Kinross Cellar Door, a complimentary bottle

of Kinross ‘Storm Cloud’ Gibbston Pinot Noir 2025,

outdoor hot tub, self-contained kitchenette and on-site

laundry facilities.

Offers available until 30 September, 2026.

WINTER REFURBISHMENT

“Exciting enhancements are underway at Kinross as our

award-winning ‘Destination Wine’ experience evolves

with a winter refurbishment,” says James.

The carefully planned upgrades include a bistro

building extension, providing an enhanced indoor dining

experience throughout the seasons, and an expansion of

the picnic lawn, which will double in size.

Importantly, it will be business as usual throughout the

winter renovation period with minimal disruption for guests.

“We’re excited to unveil beautifully refreshed spaces at

the end of October this year, offering even more reasons

for guests to relax, explore and enjoy everything Kinross

has to offer,” says James.

For more information visit kinross.nz

22 Magazine | Wishlist

Most wanted

From sought-after items in the hue of the season (blue), a haunting fragrance, stripey

socks and silver sneakers to limited edition vinyl and hair tools, retina-searing

nail colours and a highly covetable coffee table book, this is our July wishlist.

1

3

2

4 7

6

5

8

15

9

13

12

14

11

10

1. Cora-Allan ‘Gardenias from Nana Lafaiki’, 2024, handmade pigments and kāpia ink on hiapo, 490 x 375mm, $2,850 at

The Central Art Gallery; 2. Manucurist Green Jelly nail polish in Pomme d’Amour, $49 at Mecca; 3. Bibbi Ghost of Tom

parfum 30ml, $253 at Mecca; 4. Le Creuset Blueberry cocotte 480ml in Azure, $110; 5. Ralph Lauren cashmere blanket

in Navy, $889 at Trenzseater; 6. Wilson & Dorset 14-inch sheepskin laptop case in Black Peak, $185; 7. Veja Salar LT

Alveomesh sneakers in Ardoise/Pierre/Silver, $329 at Infinite Definite; 8. Sylvester Stripey socks, $49; 9. ghd X NZBCRT

limited edition Chronos styler in Dusted Pink, $509; 10. Simon Devitt & Andrea Stevens Cape to Bluff Volume 2, $99;

11. DMK Essentials Rejuvenate pack, $180; 12. Zoe & Morgan Lulu 22k gold vermeil pearl earrings, $629;

13. Citta Knight light in Cobalt, $380; 14. Cat Power The Greatest 20th anniversary limited edition vinyl, $72 at Flying

Nun; 15. Ilse Jacobson detachable-hooded raincoat in Grey Blue, $463 at Zebrano

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24 Magazine | Beauty

Top shelf

From lush lip-enhancing goodies, not one but two maple syrup-inspired

beauty treats and a must-have M·A·C Velvet Teddy addition to serums

utilising rice and caffeine, lime caviar hair masks and a nifty expandable

travel tube, here’s what the 03 team are testing this month.

1

2

4

6

3

5

12

7

10

9

11

8

1. Antipodes Lime Caviar Intense Nourishment hair mask, $49; 2. Tom Ford Soleil tinted lip glow in Nude Bikini, $75;

3. Aleph Aura lip gloss in Ember, $58; 4. Estee Lauder Glossy Lip Pout oil in Maple Syrup, $54; 5. M·A·C Skinfinish

Colourstruck blush in Velvet Teddy, $58; 6. Ecoya Mandarin Gin hand sanitiser tube, $15; 7. The Ordinary Caffeine 3%

+ Escin 1% face serum, $18; 8. Tatcha The Matcha foam cleanse, $79 at Mecca; 9. Charlotte Tilbury Unreal highlighter,

$78 at Mecca; 10. Nida White Rice whitehead exfoliating serum, $26 at Hikoco; 11. Sephora Collection 50ml-100ml

expandable silicone travel bottle, $8; 12. Fenty Beauty Sun Stalk’R Souffle bronzer in Maple Glaze, $67 at Sephora

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Feature | Magazine 27

Women that rock

Christchurch is about to get loud as all-female supergroup

Atomic! – a who’s who of Aotearoa’s most acclaimed

musicians including Julia Deans, Taite Music Prize winner

Vera Ellen Williams and hometown girl Boh Runga – take

to the stage to celebrate the best of women in pop rock.

INTERVIEWS JOSIE STEENHART

Julia, Vera Ellen and Boh, in your own words, what is Atomic!?

Julia: The most fun you (and we) will have all year!

Vera Ellen: A witches’ brew of music and madness.

Boh: Bangers with killer banter and a femme rock vibe.

How did you come to be part of it?

Julia: The concept arose from conversations with Simone [Williams, producer]

over the various Come Together shows Dianne [Swann] and I have been part

of, around how female artists are grotesquely underrepresented in music.

Vera Ellen: I was the kid that got in the team cause someone else had to get off

the field. I feel super lucky to be part of it.

Boh: Like Vera, I scootched in because Gin Wigmore couldn’t do it. Thanks, Gin!

What is it like to be a part of?

Julia: Life affirming.

Vera Ellen: Getting to perform my favourite songs to rowdy crowds is dream

come true stuff. It’s so new for me to play other people’s songs, so challenging

in the best way – like lord, learning the solo in ‘Cherry Bomb’! Just so much fun

it feels illegal. Boh: I don’t do many shows so I really enjoy being part of a fun

production such as this one. Best job ever! It means I get to sing tunes that have

influenced me, or play and sing songs I’ve always loved. And I get to hang out

with these amazing wāhine who are not just talented but funny as all get out.

What can the Christchurch audience expect from the August show?

Julia: See above!

Vera Ellen: Chaos, unfettered joy… and prepare to scream from the top of your

lungs. I see the show as very collaborative – how the shows went last year was

so dependent on the audience. It’s not one to come sit and be sensible at.

Boh: An environment where you, the audience, will be encouraged to sing/

dance along to all these songs that have been a part of all of our lives. It’s fun

for us to see you have fun! Oh, and expect a costume change!

LEFT: Front from left: Boh Runga, Dianne Swann, Julia Deans,

Rebel Reid, Louisa Nicklin, Jazmine Mary; back from left:

Vera Ellen, Ilayda Tunali, Karen Hu. Photo Stephen Tilley

ABOVE: From left: Jazmine Mary, Rebel Reid (lead guitar), Dianne Swann, Vera Ellen, Ilayda Tunali (keys),

Eilish Wilson (guest sax), Karen Hu (drums), Julia Deans, Louisa Nicklin (bass), Boh Runga. Photo Reef Reid

“Best job ever! It means I get to sing tunes that have influenced me, or play

and sing songs I’ve always loved. And I get to hang out with these amazing

wāhine who are not just talented but funny as all get out.” – Boh Runga


Tell us a bit about the lead-up/behind the scenes/

rehearsals etc…

Julia: There’s a lot of planning involved, and a lot of

debating over song selection, and sadness for not

being able to fit everything in… Our longlist this year

was 70+ songs, but we’ve managed to cull that down

to 27 (which is a LOT of learnin’!).

Rehearsals are a maelstrom of joy and panic and

intense concentration – and yet we still manage a

surprising amount of goofing off. Honestly, such a

great mix of characters. Learning that many songs

in so many different styles is no small effort, but

everyone just digs in with relish.

Vera Ellen: At rehearsals, looking around the room at

the immense talent but simultaneous total humility

and silliness, is the highlight for me.

Boh: There’s palpable excitement around which songs

make the final set list. From that, we get a feel for

what the show will be like; the songs of course, set the

course of the journey. Everyone comes from varied

musical backgrounds, so each person brings their own

vibe to their assigned songs. Such cool interpretations

and performances.

I really love opening night when we’re all getting ready

together and see each other for the first time in our

stage gear – it’s like the best precursor to a ‘girls’ night out’!

Favourite song to perform and why?

Julia: Oooo, tough question. Ok, even though it’s a song

I have a kind of love-hate relationship with, having the

entire theatre (including the men!) scream-sing every

single word of Alanis Morissette’s ‘You Oughta Know’

along with me last year was pretty epic. And clearly

cathartic for everyone.

Vera Ellen: ‘Gloria’ by Patti Smith. Just watching Dianne

[Swann]’s vocal delivery and being able to go nuts on guitar.

Boh: Jazmine [Mary] sings ‘Down by the Water’ by PJ

Harvey and I love the song’s percussive, hypnotic feel and

the dark backing vocals. You can get really caught up in it.

What have you got planned for the year beyond

Atomic! (musically or otherwise)?

Julia: Currently mixing an album that has been too long

in the making, but good things take time, right?

Vera Ellen: I have my own album tour around New

Zealand in July. I’m currently on tour with Aldous

Harding in the UK/EU and I write this answer on my

phone in line for the ferry from Denmark to Germany.

Boh: My partner and I have opened a recording studio

called Old North Studios in Auckland. It’s such an

awesome space for bands to record in, particularly for

drums and guitars. The live room is reminiscent of the

big sound you used to get from York Street.

We’ve had some great artists record there so far,

including Shepherds Reign, Tadpole and Betty-Anne

Monga. We’re slowly getting on the radar as a relaxed

recording environment where you don’t have to pay

for parking, where you can go wander off and have

a nap under the trees and where you can turn your

amps up to 11.

Atomic! perform at James Hay Theatre, Town Hall, Christchurch, August 13, 2026


Pretty dirty

One of Australasia’s top florists renowned for her unique, holistic take

on flower arranging, Auckland-based Melanie Stapleton of Cecilia Fox

shares insights, inspiration, tips and tricks for all things floral.

WORDS MELANIE STAPLETON | PHOTOS ROCHELLE EAGLE

When I moved to Melbourne from London in

2005, the work I wanted to make stood outside

of the typical ideas of floristry at the time.

I had moved to London in 2001, and my small-town

New Zealand eyes were opened to a whole new

world of contemporary art and culture. Immersing

myself in the city’s rich arts, music and culinary scenes

completely reshaped my narrow worldview, challenging

nearly every assumption I’d held.

I wanted to gather all of these ideas and experiences

into something new in the Melbourne flower world.

London gifted me the experience of floristry on a

scale I’d never seen before and I witnessed the power

that floral design could have in a space and place.

More acutely, I had seen that evolving and embracing

a personal style or a distinctive visual language allowed

you to captivate an audience.

It wasn’t necessary to make work to please everyone

– you could make what you wanted and what you

loved and the people would come.

The flower world was still feeling the lag of stiff,

tightly packed domes of flowers rooted in the floral

design of the 1990s and clipping at the heels of

aesthetic movements like Piet Oudolf’s New Perennial

Movement of naturalistic garden design. The slow food

movement was gathering speed and a new way of

designing with flowers was percolating in me.

On arriving in Melbourne, I wanted to explore

new creative avenues, so I enrolled in a textile course

at RMIT (Royal Melbourne Institute of Technology),

where I studied weaving, tapestry, screen printing and

machine knitting. These were all fascinating, though

perhaps had too many rules for my liking.

However, it was the people I met during this time

who altered and influenced the way I thought about

my floristry work, particularly Mandy Gunn, my

teacher for Experimental Weave. Mandy revealed a

world of metaphor and an understanding of the power

of repetition and rhythm that still stays with me.

I never finished this course or pursued anything to

do with textiles, but this chapter added another layer

to my evolving style. I had more of an idea of how I

wanted my flowers to feel rather than an aesthetic

look I wanted to produce.

I wanted the audience to feel something, a moment

of awe, or for something to capture their attention,

particularly people who weren’t already flower people.

We flower people already notice, but it’s my aim to have

someone sit down at the table at their niece’s wedding

and have something catch their eye – a flower that their

mother grew, or a fragrance that reminds them of a

childhood spent rolling down grassy hills. A blossom that

they have growing on their street but hadn’t noticed it

was flowering yet. I’m hoping for a second of pause.

In the early years of Cecilia Fox, I was focused on my

flowers feeling wild, young and mischievous with a kind of

naivety to them.

As my work has grown and evolved, I like to think

the work still has a wild element to it, perhaps a nod to

something fierce and fearless, always beautiful but not in

a conventional way.

The creativity of floristry is not just about creating

beautiful floral arrangements: floristry demands ingenuity

and sharp problem-solving skills. Using materials that are

evanescent and fleeting requires work to be made quickly

and efficiently, but not without care and deep respect for

the process and the materials.

Bringing materials together is like building a community,

bringing different personalities and characters together.

Sometimes this is with plants and flowers that would never

be found growing together in the wild or in a garden.

That’s the artistry of floristry versus garden design: we

can pair plants in dialogue – like a rowdy and animated

conversation between a heliconia and a branch of

blossom or a secret whisper behind the oak tree with a

forget me not and a lilac bush.

The most valuable lesson I’ve learnt over my career

is to lean into the mess and uncertainty of flower work

without sacrificing the integrity of it. The nuance is in the

impossibility of it.

Flower work is ephemeral and extremely budgetconstrained,

client-constrained and limited on so many

levels, but finding ways to build and grow and teeter on

the very edge of possibility is where the magic lies. It was

often about finding creative and sustainable ways to make

large-scale works that were structurally sound but not

too difficult to pull apart in a few hours.

I tend to overthink how to do things most efficiently,

and I can be overly cautious naturally. But I try to keep

front of mind the well-known quote, ‘Design like you

don’t have to pay for it.’ And I would add, design like you

don’t have to install it or de-install it. It’s a great reminder

to not be constrained by physical and practical limitations

when you are initially dreaming up concepts.

32 Magazine | Feature

Adventures in rule breaking (how i like to make)

Whether you’re a professional florist or a flower

lover at home, this is a guide intended to send you

on a more adventurous path of designing with the

botanical medium. It is not to tell you how to design,

but to give you some tools and ideas as to how I think

about making.

The practical side of flower arranging makes it

possible to get into a flow and just let your intuition

and the materials take the lead. I like to think of making

flowers as theatre – a little smoke and mirrors. Event

floristry is undoubtedly about creating an atmosphere,

taking the audience on a journey and telling a story.

Perhaps a dance, but ultimately a performance.

I don’t think of my work as ‘perfect’ floristry. In fact, I

hope that I can continue to make work that sits outside

of conventional floristry. I also really love mess – life

can be messy and social media has us all thinking that

everything should be in order all the time. I have a messy

life, I’m imperfect and so are the arrangements I make.

I love the physicality of making flowers at scale; you

can throw your whole body into a relationship with this

momentary natural world and come out, scratched and

muddy, with twigs in your hair.

Large work can be showy and expensive and

wonderful, so equally I relish making small, humble,

thoughtful arrangements. Finding beauty in the

individuality of each flower or plant no matter how

spiky or difficult.

Making a simple vase arrangement requires a different

mindset compared with creating an installation piece,

but the practicalities remain the same.

Vessels

Choose a vessel, anything that holds water. Perhaps you

have a favourite vase or maybe it’s a jam jar or a bucket.

The vessel is one of the most important parts of an

arrangement: it contains the water, the very substance

that sustains the flowers. Whether you can see the

vessel or whether it’s hidden behind flowers by design, I

prefer something with weight to it. If the vessel is to be

seen, I think of it as an element in the design.

If it is a feature vase or one with a loud appearance,

maybe it only needs one type of flower artfully arranged.

The shape and style of the vessel will speak to the

mechanics you use and to the flowers you put in it.

Mechanics

The tools and techniques used to support and secure

your flowers are called ‘mechanics’ in floristry. A tall

cylinder vase may need no mechanics other than the

stems of the flowers themselves. A low bowl vessel with

a wide mouth will need some extra structure.

I make a little pillow of chicken wire, so the stems

go through at least two layers of wire and are well

supported. I like a firm-grade wire to make the pillow

that is pushed into the vessel tightly, so it doesn’t move

around. Depending on the design, I like to have some

chicken wire protruding from the vessel, if I’m able to

cover it well with my materials. I tape it down using clear

florist tape, which is plastic, so I’ll avoid this step if the

wire stays in place without it.

For some vessels I use a kenzan, otherwise known as a

pin holder or a flower frog. In Japanese, the word literally

translates as ‘sword mountains’. Kenzans have a heavy

metal base with little spikes sticking up so you can poke

stems onto them and they will stay put. They have a

lovely weight and feel to them and sometimes I use them

in conjunction with chicken wire.

There are a couple of ikebana techniques that I’ve

learnt in the last year: always add the stem to the kenzan

straight up and down, then gently angle the stem to

where you want it. Another ikebana trick is using a cross

of thin flexible branches inside the vase or splitting your

flower stem carefully in two and interlocking the stem

into another slender but strong fixture.

I always prefer to use the natural armature of branches

or vines as support, because then the mechanics can

become part of the design. I love to use Muehlenbeckia,

commonly called Maidenhair plant or vine. I’m particularly

fond of using Muehlenbeckia astonii or another New

Zealand native plant, Corokia (sometimes even called the

wire-netting plant), in this way. Its flexible, divaricating and

interlacing stems create a beautiful natural chicken wire.

Materials

My choice of materials is always based on the seasons

and, of course, the client brief.

Sourcing materials is my favourite part of making

– each flower or branch or bramble has its own

personality. I often choose what is readily available to

me, or what has caught my eye in the local environment.

Sometimes the pursuit of the perfect ingredient can take

me on all kinds of adventures and requires a keen eye

and good relationships.

I like to put together materials that would never grow

together in nature. I think the fun and beauty of floral art

is not to mimic a garden but to create a dreamscape of

nature. Intrigue and unexpected combinations at every turn.

I believe it’s important to reflect the land you are on

in the work made, even in some small way. When I work

on events in a location that I’m not familiar with, I like to

spend time there first to soak in some of the essence of

a place. That way the work can reflect and respect the

land, the geographical nuances and energy. Using local

growers and local collaborators is a priority. Pay attention

to the plants and flowers that grow readily in your local

environment; take note of weeds and those plants that

grow on the margins.

In your own garden, let veggies go to seed, wait to cut

back summer plants, start to notice interesting foliage –

there just might be something magic in a faded perennial.

I enjoy making arrangements where my materials are

very limited. Using just one or two types of flowers feels,

for me, like black and white photography – your eye has

a chance to really hone form and shape.

Form

The form of the actual flower has already been

determined, but every flower is different. Like a

fingerprint, no two are the same. How it is placed in

concert with other flowers and foliage, and within the

vessel, comes along the way.

When I choose a stem, I feel into the form: the natural

fall, how it dances with gravity, the back and front of

the flower, and which way it wants to go without me

imposing a shape or idea on the flower. With practice,

the flower tells you where it wants to go. This might

happen in an instant or after a longer contemplation.

In commercial floristry these decisions must be made

quickly and deftly. This teaches you to quickly trust your

instincts. Practice and time and attention give you a

visual and physical library in your mind of how different

plants and flowers behave or what they might need in

terms of support.

“I hope that I can

continue to make work

that sits outside of

conventional floristry. I

also really love mess – life

can be messy and social

media has us all thinking

that everything should

be in order all the time.

I have a messy life, I’m

imperfect and so are the

arrangements I make.”

I would also offer this to anyone arranging flowers

at home: really take the time to contemplate each

material. See how heavy it is, how it smells, how it feels

when you squish the stem. Can you look really closely

at the petals and the texture of them? Do they remind

you of anything? Is it woody or fleshy? Maybe pull a

flower apart and examine each part closely. This is a

great exercise for kids and adults and I often use it in

workshops so people start to feel into each flower and

don’t get so carried away with the design or outcome.

In traditional floristry we are taught about focal

flowers, filler flowers and line flowers. I don’t follow any

of these rules. I never think of foliage as a base and I do

not subscribe to the idea of filler flowers at all. I work

to give every material equal value. I think of foliage in

the same way that I think about a flower or a berry or

a branch: each material harnessing its own particular

potency, not simply as a support for a focal flower.

It is a common design principle to use materials in

threes or odd numbers. It’s a good guide if you are

putting flowers in a vase at home. It’s not something

that I do; most flowers come in bunches of five or ten

stems so I normally work with these numbers.

Mostly I intentionally push back against these rules

of numbers and shapes. I would love you to embrace

some imperfect design too – perhaps try putting two

stems in a vase and contemplate whether three would

be better. I love an unruly branch floating out where it’s

not meant to be. It can beautiful, and remarkable, and

does not need to be pretty or perfect. It can be wild

and rebellious and riotous.


Balance

Making sure that your arrangement doesn’t fall over

is simple physics. The physical weight of the flower

can determine how the flower will be used in your

arrangement. The weight of the vase and the water

together must be equal to or greater than the weight of

the flowers. The flowers exert a force (the weight) at a

distance from the pivot (the edge of the vessel).

You can’t deny these physical rules of gravity, but

it is fun to play around with them, to let it fall over. I

like pushing these physical limits to the very edge of

possibility to create drama in an arrangement.

The visual weight of a flower or arrangement is

equally as important. Some flowers have a heavy, solid

look, such as an artichoke or a protea, while others look

airy and light, such as cosmos or Japanese anemone.

Colour balance is also something to consider – a

dynamic intentional imbalance can be interesting and

compelling, while using only one colour or tone can give

another feeling altogether.

Negative space

The space in between the flowers is just as important

as the material mass itself. Allowing space can convey

a sense of movement or lightness. I like the idea that a

butterfly could easily fly through an arrangement.

Equally, if I am making a more sculptural solid form,

the shapes and silhouette it creates are essential. In

ikebana this space is called ma and is an integral part of

the form. Open spaces create breathing room and allow

each element to be appreciated.

Texture and colour

I believe that all colours can go together. That’s not to

say all colours should go together but, with the right

consideration and conversation among the flowers,

anything is possible.

I love yellow, so I’m always trying to convince clients

to add a little yellow into their colour palette. Yellow

always goes in my opinion.

I don’t know that much about colour theory, but I

know that nature holds infinite combinations of colours.

I refer to the environment and my intuition, not the

colour wheel, when using colour.

The different physical characteristics of flowers – the

texture, shape and colours – can change the feeling

of the work dramatically. Combining vastly different

textures can make for a dynamic interaction of materials

– think pairing spiky banksia with voluptuous garden

roses or tropical shiny heliconia with fluffy dahlias.

Dimension and space

Thinking about how the arrangement will be viewed

and how it will be engaged with is vital when

determining the shape and the form and how it will

be constructed. Will it be viewed just from the front

or from all around? Is there a backdrop? Is it for your

kitchen table or for a dinner with friends?

It should look interesting from all angles, so consider

the space where the work is to be: the lines of sight as

the viewer or audience enters the space, the texture

and the sensibility of the building or room.

Often I work on a large scale in marquees, a truly

blank canvas. In these cases, I take into account the

vistas outside and the visual and historical views.

Of course, the clients and the motivation of the event

– be it party or wedding or photoshoot – play a crucial

role in the design and the process of gathering pieces of

the puzzle.

Editing

Editing is the means by which we reduce the material

down to its essence, removing leaves or parts of a

stem to accentuate the form. Often I might remove the

leaves of a branch to reveal the fruits or the elegant

shape of the branch itself.

With some materials the leaves might wilt quickly

while the rest of it might last well, so this needs to be

considered when editing, especially for work that needs

to look good on the day it is installed and in five days

as well.

At home, try taking all the leaves off a cosmos so

you are left with just the elegant stem and none of the

distracting feathery leaves. Or trim the leaves from a

branch of cumquats to reveal the glowing orbs and the

way the stems bends.

In ikebana this technique is called hana-kiri, where you

trim and shape the stems and branches to create the

desired lines, forms and balance. Many ikebana teachers

have said to me that ikebana is the practice of less less

and Western floristry is about more more. I think this

has been true in the past but, as contemporary floristry

takes more cues and inspiration from ikebana and vice

versa, the boundaries are becoming blurred.

Extracted from Pretty

Dirty by Melanie

Cecilia Stapleton,

published by Hardie

Grant Books, RRP$70.

Great heights

Constructed on a dramatically steep site overlooking Lake Wakatipu, this multi-awardwinning

house is a strikingly successful example of vision and craftsmanship aligning.

WORDS KIM DUNGEY | PHOTOS ISAAC NORTON & IMAGEWORKS

T

here’s nothing conventional about this geometric house built on a

steep site in Queenstown.

With an unusual shape and creative use of materials, it sits on one

of the last lakefront sections in Kelvin Heights to be developed.

It’s not difficult to understand why the site wasn’t snapped up

earlier: falling 15 vertical metres from top to bottom and hemmed

in by a paper road that leads down to a pump station and Lake

Wakatipu, it was never going to be straightforward to build on.

However, the 40-metre lake frontage meant any house built there

could spread out and every room could have a lake view.

The home was designed by its owners, architect Bronwen Kerr and

landscape architect Pete Ritchie, who bought the land in 2010 but

were in no rush to build.

The design they eventually settled on was for a three-storey,

450sqm property with five bedrooms, one of which is in a selfcontained

guest studio.

Wanting a reasonably monolithic building, they used a single material

on both the roof and the driveway-facing facade – reverse-profiled

Colorsteel, which provides privacy from the paper road.

The dark metal cladding was devised as a ‘‘skin’’ which gives way to

a ‘‘lusher, warmer interior’’.

In contrast, the rest of the exterior is clad in recycled

Australian hardwood.

The use of steel grating as a sun and privacy screen on the exterior

and for balustrades on the interior stairs highlights the couple’s

enthusiasm for mixing industrial elements with more refined materials.

Interior walls, floors, doors and ceilings were crafted from Southland

beech with orientated strand board (OSB) – the inner layer of the

home’s prefabricated panels – left as the wall linings in selected areas.

While the site is steep and difficult, there is a surprising amount of

flat outdoor space available, said the owners, who lived on the bottom

floor of the house for some of the two-year build.

This includes a courtyard on the middle level, formed around the

schist boulders and steel grating, and an internal deck downstairs.

Design | Magazine 37

38 Magazine | Design

“This was a build

with nowhere

to hide. Every

material, junction

and detail are

fully exposed –

each handled with

outstanding care.”


‘‘Because you’ve got the living upstairs and the

bedrooms downstairs, sometimes in that situation

you can feel like you’re living in an apartment but it’s

more grounded than that.’’

With generous insulation, triple glazing, a

mechanical ventilation system, air-to-water heat pump

and solar panels, the property doesn’t overheat or

get cold but stays at a consistent temperature.

The project earned Velvin Building a string of

national awards in the 2025 Master Builders House

of the Year competition – including Supreme

House of the Year (over $1 million), the award

for new homes worth $2m-$4m and the Kitchen

Excellence Award.

The judges said it felt original, sophisticated

and full of personality, adding: ‘‘This was a build

with nowhere to hide. Every material, junction

and detail are fully exposed – each handled with

outstanding care.’’

Velvin Building owner Joe Velvin-Turner said

usually builders got a house to a certain point, then

painters and plasterers came in behind them.

‘‘Here, everything we touched was the final

product, so all of the beech tongue and groove, all

the ceiling battens, the mitred OSB and the concrete

floors. If there were any imperfections, it was on us

so you had to execute things perfectly the first time.

There was no going back… No pressure at all!’’

It was the second successive year the firm had

won one of the three supreme awards handed

out nationally; in 2024, its remodelling of a 1970s

Queenstown A-frame was named Supreme

Renovation of the Year.


“It was a great

place to be at

work every day,

hanging over the

lake and having

people staring

up in disbelief.”

Raised in Hamilton, Joe started a fine arts degree

before realising it wasn’t ‘‘practical enough’’ for him and

taking up a building apprenticeship. He established Velvin

Building in 2012 with partner Amber McGrath, who has a

diploma in architectural design.

He described the Kelvin Heights site as a ‘‘triangular

piece of rock’’ and said there was a reason it hadn’t

previously been built on. However, being so close to the

water, it had a special feeling: ‘‘It was a great place to

be at work every day, hanging over the lake and having

people staring up in disbelief.’’

The biggest challenge was not having anywhere to

easily set up a crane, which made delivering materials

difficult and coordinating everything ‘‘a bit nerve-racking

at times’’.

However, using prefabricated wall and roof panels

– once they got the basement level out of the ground –

reduced the number of truck movements, got the house

closed in sooner and meant materials did not get wet.

It was the first time he had built with spotted

gum, the exterior cladding which was recycled

from power poles in Australia. The timber

was ‘‘really, really heavy’’ but it was nice to use

products other than cedar and something that

hadn’t travelled ‘‘from the other side of the planet’’.

Another unusual move was using Colorsteel

instead of timber or plywood as the formwork for

a curved in situ concrete wall on the south side of

the house. This created peaks and troughs which

matched the metal on the roof.

As well as winning accolades at the Master

Builders awards, the property was named the

2025 Colorsteel Residential Building of the Year.

For judge Ken Crosson it was the element of

surprise as well as the crafted nature of the home

that set it apart from other entries.

‘‘It’s an extraordinary design in a beautiful

location,’’ he says.

42 Magazine | Promotion

DIRECTORY

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LITTLE RIVER GALLERY

Shifting breeze, light across the sea, and the

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Otago to the outback

Celebrated Dunedin-based artist and former 03 cover star Meg

Gallagher recently crossed the ditch to become the inaugural artist

in residence at Bullo River Station in Australia’s Northern Territory.

Travel | Magazine 45

Meg, can you describe your artistic practice in a few

words? What inspires your work?

I create mixed media abstract artworks using found

textiles and natural pigments. Nature, colour and

energy inspire me every single day.

How does your background or past experience

influence the materials or themes you explore?

I come from a background in the fashion industry,

particularly denim design. Working in that world made

me very aware of how much textile waste exists.

When I began painting, I decided not to use traditional

canvas but instead worked with excess denim offcuts.

Now, I source a wide variety of unwanted fabrics

and vintage clothing for my work. I love the idea of

giving these textiles new life – allowing the stories and

memories they hold to become part of the artwork.

What role does place play in your creative process?

Place is everything. I need to be somewhere to

understand it not just from a visual point of view but

to soak up the energy – to walk through it, absorb the

sounds and light.

I treat the landscape as a collaborator in my

process. Although I never create a literal depiction of a

landscape, it informs the tone, palette and emotion of

the work.

How has travel influenced your professional growth?

Travel is essential to my creative practice. When

I worked in fashion, I travelled the world sourcing

vintage pieces, which strengthened my love for

treasured textiles.

Today, travel is more about a creative reset – stepping

out of my everyday environment allows me to see with

fresh eyes. It challenges me and pushes my practice in

new directions, both technically and emotionally.

How has your art evolved over time?

It’s become more instinctive. I’ve grown more

confident in abstraction – working with earth

pigments, mixing contrasting textures and trusting my

intuition to guide each piece.

46 Magazine | Travel

Can you describe or summarise the work

you’ve created to date in a way that captures its

emotional or visual essence?

My work seeks to capture what it feels like to be in

a place, not just what it looks like. It moves between

subtlety and intensity – much like nature itself.

What drew you to partner with Bullo River Station?

The chance to explore its raw beauty was an

obvious draw, but what truly resonated with me

was Bullo’s strong environmental ethos. Their

integrity and commitment to conservation aligned

with my own values. It felt like a meaningful

collaboration with a place and a team that genuinely

care about preserving something special.

Describe your visit there – what were the

highlight moments from your trip?

There’s a magic to Bullo River Station that words

can’t fully capture. The team made me feel so

welcome – their energy was contagious.

Highlights included being helicoptered to a hidden

waterfall and swimming hole, gliding along the

glassy river at sunrise, long drives through vast open

spaces, and candlelit dinners under the stars.

How did being immersed in this location

influence your work or creative thinking?

It created a sense of calmness in me. The vastness

of Bullo made me want to focus on tone and

gesture rather than detail. The silence and space

gave my mind room to explore new ideas.

Describe a particularly poignant moment from

your trip…

One moment that really stayed with me was gliding

down the Bullo River. The air was still, the water

was like glass and the only sounds were birds

calling. Then we turned a rocky bend and saw a

huge saltwater crocodile basking in the sun. It felt

otherworldly – like stepping into another time.

There’s an area on the property called Jurassic Park,

and I completely understand why.

What surprised or intrigued you most about the

landscapes, wildlife colours and/or light there?

The colours were astonishing. I expected the red

ochre to be vivid, but the richness and depth of the

tones exceeded my imagination. The sunsets were full

of warmth and drama. I was also surprised by how

lush and green some areas were. You could see how

healthy the ecosystem was – the plant life and wildlife

thriving together in balance.

What surprised or intrigued you most about station

life? And did you feel a sense of connection with the

people of Bullo River Station?

Absolutely. Everyone at Bullo had such unique

personalities and backgrounds, but they all shared a

love of adventure and the outdoors. Their energy was

infectious. It felt like joining one big family for a week –

such an authentic, welcoming experience.

Was visiting Bullo River Station what you expected?

What elements surprised you most?

It was everything I expected – and so much more.

I didn’t expect to feel so at home so quickly, but

Catherine, the station manager, made us feel instantly

welcome. Her calm, warm energy set the tone for

the entire stay. I was surprised by how bespoke the

experience felt – the days were thoughtfully planned to

suit us, and having a private guide made it feel deeply

personal and authentic.

You commonly paint landscapes, but what was

different about painting an artwork inspired by

the Station?

For this piece, I incorporated the station staff’s old

denim and workwear into the artwork, so the history

of Bullo literally became part of the piece. These fabrics

carry stories of life on the land. I also dyed cotton from

the station with its own red ochre, so the work isn’t

just inspired by Bullo – it contains fragments of it.

Describe the colour references you took from your

experience there that featured in your artwork…

The deep red ochre from the winding road, the lush

greens surrounding the river, and the piercing blues of

the sky dominate my memory. While I was there, I did

colour studies and fabric dyeing to capture those hues

while they were fresh in my mind.

“Today, travel is more

about a creative reset

– stepping out of my

everyday environment

allows me to see with

fresh eyes.”

Travel | Magazine 47

48 Magazine | Travel

And tell us a bit more about the materials?

As mentioned I was lucky to collect some beautifully

worn denim from the station team, complete with

unique fading and marks from years of use.

I also found old paisley bandanas rich in heritage,

and green cotton workwear with sun-faded tones –

all of which brought the character of Bullo directly

into the piece.

Describe your process for creating this artwork,

from inspiration gathering to final reveal…

The process began with full immersion at Bullo River

Station – walking the land, sketching, photographing

and absorbing its spirit.

Back in my studio, I started by building a mood board

to refine my ideas, then cut and sewed the textiles into

a large patchwork before stretching it onto plywood.

From there, I layered pigments, paints and dyes,

allowing each to dry before continuing. It’s an intuitive

process – I never know exactly when a piece is finished

until I walk in one day and feel that it’s complete.

Once done, it was professionally photographed and

framed in sustainably sourced Tasmanian oak before

the big reveal.

How does sustainability, conservation or land

stewardship play into your work?

I grew up on a small farm in New Zealand, where my

mother taught us to treat the land gently.

Later, working in fashion gave me an insider’s view of

textile waste, which pushed me toward using offcuts and

discarded materials in my art. I know it’s impossible to be

100 percent sustainable, but I do what I can – and hope

my process inspires others to rethink how materials can

be repurposed.

As an artist, I see my role as a storyteller, and I want

those stories to lead to appreciation and action.

What did partnering with Australian Wildlife

Conservancy and donating proceeds from your

artwork mean to you?

It’s incredibly meaningful to me that this artwork could

contribute in a tangible way to protecting Australia’s

wildlife. The Australian Wildlife Conservancy is

doing essential work in some of the most vulnerable

ecosystems, and to have my art be part of that story

feels purposeful.

It’s one thing to create something beautiful – it’s another

for that beauty to contribute to conservation impact.

Will the partnership influence future work in any way?

Absolutely. This experience gave me a lifetime of

inspiration, so it’s impossible for it not to influence me

moving forward.

I see myself seeking out more collaborations where art

becomes a bridge between people and the environment.

This project has reaffirmed why that matters to me.

Promotion | Magazine 49

DIRECTORY

WINTER ROADIE

The South Island’s best spots to make a stop this winter.

William Greene, ‘The Roadmakers at Patiti Point’, 1916, oil on

canvas, 880 x 1240mm, Aigantighe Art Gallery Acc. 1965.22

JACKSON ORCHARDS

Winter at Jackson Orchards in Cromwell offers a

unique Central Otago experience. Enjoy guided

orchard tours aboard our iconic electric buses,

taking in stunning seasonal scenery and learning

about our apricot-growing heritage. Afterwards, visit

our fruit stall and sample our famous dried apricots,

packed with natural sweetness and flavour.

jacksonorchards.co.nz

AIGANTIGHE ART GALLERY

This winter, discover collection highlights celebrating

50 years of the Friends of the Aigantighe Art

Gallery. Featuring significant gifts from the collection

and exploring Scottish connections within South

Canterbury, the exhibition unfolds across the

gallery’s restored historic house and contemporary

spaces. An enriching stop on the road to Aoraki/

Mount Cook.

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TĀHUNA BEACH HOLIDAY PARK

Located alongside the iconic Tāhunanui Beach this

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cafe with great coffee, while the beach (even more

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an easy stroll away.

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Clutha Gold trails. Our motto is “we’re all about you”.

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50 Magazine | Food

From fashion to fettuccine

Former fashion designer Emilie Pullar performed the ultimate pandemic

pivot – swapping prints and patterns for a delicious new career in pasta.

INTERVIEW JOSIE STEENHART | RECIPES & PHOTOS EMILIE PULLAR

Emilie, how and why did you go from fashion

to pasta?

It’s a bit of a cliché pandemic tale. I had been

running my fashion brand Maaike with my business

partner Abby for over 10 years and we couldn’t

work in lockdown. All our factories shut down and

for the first time in that decade, I had some time off.

I experimented with making pasta from scratch

and started my Burnt Butter Table Instagram so

my friends wouldn’t be annoyed with a million

food photos on my personal page. It took off and

in the following two years I built a website to

share recipes.

The years after lockdown in the fashion industry

were challenging and although we were running a

pretty successful business we both just wanted to

do other things.

Any advice for others considering a dramatic

career change?

I would say you have to be prepared to put in a

lot of work. We had an 18 month timeline to shut

Maaike down so I had to use that time to make

BBT work financially. The last year I was working

on both full time and honestly it was really hard,

but it paid off.

I feel very passionate that we are all capable of

doing amazing things if we believe in ourselves and

are willing to put in the work. It’s never too late to

make a change.

Current favourite kind of pasta and why?

My favourite pasta shape to make, cook and eat is

orecchiette. It’s a challenging shape to master but

making it by hand is incredibly satisfying. Meaning

“little ears” in Italian, orecchiette are the perfect

shape for catching and holding onto sauce. They are

traditionally made with durum wheat flour, which

gives them plenty of structure and an irresistibly

chewy texture.

And current favourite sauce/s and why?

Cacio e pepe is my death row dish. It’s proof that a

handful of simple ingredients can create something truly

incredible. Traditionally made with just black pepper,

pecorino and pasta water, I add butter to mine. The Italian

purists might not approve, but I simply can’t be stopped!

Most loved/requested Burnt Butter Table recipe?

Speaking of making the Italians mad, the most popular

recipe on my site is my very simple creamy pasta with

chicken. You would never, ever serve pasta with chicken

in Italy but for a weeknight meal in our protein obsessed

world, it’s perfect. It gets over a million views a year on

my site, people love it.

Any memorable pastas you’ve eaten in the South Island?

My friend Evie and I still talk about a pasta we ate at

Aosta in Arrowtown a few years ago. It was a pappardelle

dish with kina. It was so savoury and incredible. I never

miss a visit there if I’m down south.

(New) career highlights so far?

A huge achievement was building my online pasta school.

I am so proud of it and it’s a fantastic resource for anyone

wanting to learn how to make pasta at home.

Last year I also collaborated with Sean Connolly for

restaurant month at his restaurant in Auckland, Esther. It

was a very successful sold-out event and felt like a dream.

I worked in the kitchen for two days handmaking the

pasta with the chefs there and it was an experience I will

never forget. Hand making ravioli and orecchiette for 130

people was one of the most labour intensive things I have

ever done!

Plans for the near future?

I want to continue publishing recipes and build my site

(theburntbuttertable.com) into a one stop destination for

pasta and all things Italian food. I want to get started on a

cookbook – which is highly requested from my followers

– and also expand into some kitchen products.

CREAMY ROASTED PUMPKIN PASTA

This truly is a hug in a bowl. Roasting

the pumpkin until lightly charred

brings out its natural sweetness and

adds a depth of flavour to this simple

sauce. The pumpkin gets blended into

a silky, creamy sauce with Parmesan

and garlic for the ultimate cozy pasta

dinner. It makes a generous amount

of sauce, so you can easily increase

the pasta quantity to serve three.

Serves 2

Preparation time: 15 minutes

Cooking time: 1 hour

200g dried pasta (or 300 grams fresh)

420g cubed pumpkin, about three

heaped cups

1 onion cut into wedges

1 tablespoon olive oil

40g butter

8 - 10 fresh sage leaves (optional)

3 cloves garlic very finely chopped

or minced

2 tablespoons tomato paste

⅔ cup cream

40g Parmesan finely grated

½ teaspoon black pepper

1 tablespoon fresh lemon juice

salt to taste

Preheat your oven to 180°C.

Put the pumpkin and onion pieces on a baking sheet lined with

parchment paper and drizzle over the olive oil. Sprinkle over a good

pinch of salt and pepper. Roast in the oven for 40 - 50 mins until

lightly charred. You might need to take the onion pieces out earlier

so watch them closely.

Pureé with a stick blender or in a food processor with 1 cup water.

Cook your pasta in a pot of well salted boiling water. Reserve 1 cup

of pasta water before draining.

Melt the butter over medium heat and when just sizzling add the

sage leaves. Cook, swirling the pan so the butter browns evenly.

Remove the sage leaves when crisp and the butter is lightly browned.

Set the leaves aside on a paper hand towel and leave butter in pan.

Add the garlic to the butter and sizzle for 30 seconds, moving it

around the pan so it doesn’t burn. Turn the heat down if you need.

Add the tomato paste and let it gently sizzle for 2 minutes, whisking

it into the garlic and butter.

Lower heat and add the cream and ½ cup pasta water and mix well.

Bring it to a gentle simmer, it shouldn’t be bubbling aggressively.

Add the pureed pumpkin and mix well.

Add the Parmesan in two separate lots, whisking and letting it melt

between each addition.

Add the lemon juice and black pepper and mix in well. Season to

taste with salt.

Add your pasta straight into the sauce and let it gently bubble away

for a minute or so. Add more pasta water to loosen the sauce if

needed. This is quite a thick sauce so loosen as much as you need.

Serve with extra Parmesan, a good crack of black pepper and the

crisp sage on top.

Recipes | Magazine 53

CLASSIC PASTA AMATRICIANA

This is a classic Roman pasta dish that uses guanciale to flavor an otherwise simple tomato sauce.

I highly recommend seeking out the best quality canned tomatoes you can find, as they make a huge

difference in a sauce with so few ingredients. San Marzano tomatoes are considered the gold standard.

Serves 2 | Preparation time: 10 minutes | Cooking time: 25 minutes

200g dried pasta (or 300g fresh)

1 x 400g can whole tomatoes


100g guanciale cut into small pieces

3 garlic cloves finely minced

¼ - ½ teaspoon chilli flakes (optional)

1½ tablespoons tomato paste

½ cup dry white wine

¼ - ½ teaspoon sea salt

½ teaspoon black pepper

30g pecorino (or Parmesan) finely grated

Blend the canned tomatoes until smooth. Rinse the

can with ½ cup water and add that to the tomatoes

before blending.

Heat the olive oil over medium-high heat in a large

skillet. Add the guanciale, then reduce heat to

medium and cook for 8 - 10 minutes until golden

and the fat has rendered.

Remove the guanciale with a slotted spoon and set

aside, leaving the fat in the pan.

Add the garlic (and chilli flakes if using) and cook

for 30 seconds. Add the tomato paste and cook for

another 30 seconds. Lower the heat if needed.

Add the white wine and simmer for 1 - 2 minutes

until slightly reduced.

Add the blended tomatoes, salt and pepper. Stir

well and simmer over medium-low heat for 10 - 12

minutes. Add the guanciale back in halfway through.

While the sauce is simmering, cook your pasta until

just under al dente, then reserve a cup of pasta

water before draining.

Add the pasta to the sauce with ½ cup pasta water

and toss well. Let it gently bubble for 2–3 minutes

until the sauce coats the pasta.

Turn the heat to low and add the pecorino, tossing

continuously until melted and glossy.

Taste and adjust seasoning. Serve with extra pecorino.

54 Magazine | Recipes

CARAMELISED ONION MAC AND CHEESE

If you love French onion soup and mac and cheese, this recipe is the best of both worlds.

Sweet caramelised onions, smoky crispy bacon and a creamy Gruyère cheese sauce are baked

under a golden, buttery panko topping for the ultimate cosy dinner. It’s rich, comforting and

guaranteed to have everyone going back for seconds.

Serves 4 - 6 | Preparation time: 20 minutes | Cooking time: 1 hour 15 minutes

FOR THE ONIONS


1 tablespoon butter

4 - 5 small onions (my 5 were 850 grams in total

before cut)

½ teaspoon salt

1½ tablespoons balsamic glaze

FOR THE PANKO TOPPING

1 ½ cups panko breadcrumbs

70g butter melted

1 tablespoon fresh rosemary leaves roughly chopped

zest of 1 small lemon

FOR THE CHEESE SAUCE

70g butter

60g plain flour

900ml milk

350g cheese (I used a split of gruyere, mozzarella

and Parmesan)

1 teaspoon black pepper

1 teaspoon salt

Get the onions going first, they take the longest.

While they cook you can boil the pasta, make the

topping and fry the bacon.

Trim both ends off the onions then cut in half

lengthways, peel, then lay each half flat and slice

into ¼-inch thick half circles.

Heat 1 tablespoon of olive oil and 1 tablespoon of

butter in a heavy bottomed skillet or Dutch oven

over a medium heat and cook the onions for 10

minutes until softened. Mix the salt through then

lower the heat down to low and continue cooking

for 40 minutes until golden and super soft. It needs

to be stirred often so they don’t catch and burn.

Add the balsamic glaze, mix well and continue

cooking for five minutes then set aside.

Boil your pasta, undercooking by 2 minutes from

package instructions. Drain and then toss with a

knob of butter to stop it sticking and overcooking.

Melt the butter and mix with the panko crumbs,

rosemary and lemon zest and set aside.

Heat ½ tablespoon of olive oil in large skillet and

fry the bacon until crisp and golden, about 10

minutes. Set aside.

FOR THE SAUCE AND ASSEMBLY

Preheat your oven to 180°C.

Make the cheese sauce in a large oven-proof skillet

(I used a 32cm Le Creuset shallow casserole), or

make it in a saucepan and mix everything together

before transferring to a casserole dish to bake.

Heat the butter over a medium heat and when

sizzling, add the flour. Whisk or mix vigorously

for a minute to cook the flour off.

Lower the heat and add half of the milk in a slow

stream, whisking the whole time and making sure

you are getting all the flour mixture from the

bottom and sides of the pan. Once all the flour

mixture is incorporated add the rest of the milk

and whisk really well. I often add the milk a cup

at a time.

Cook for 4 - 5 minutes, stirring until it thickens

and coats the back of a wooden spoon. It should

never be boiling.

Remove from the heat and add the cheese in three

separate lots, whisking and letting it mostly melt

before adding the next lot.

Add the cooked pasta, bacon, and half of the

onions. Mix through gently.

Check for seasoning, I added 1.5 teaspoons of

black pepper and 1 teaspoon of salt. It will depend

which cheeses you used.

Pour into your baking dish and top with the

remaining onions, then sprinkle the panko crumbs

in an even layer over the top. Bake in the oven for

25 minutes until bubbling and golden.

Let it sit for 5 minutes before serving.

56 Magazine | Recipes

BEEF SHORT RIB RAGU

This is the kind of recipe that will make

your guests think you’re a chef. It’s deeply

flavorful, surprisingly simple to make,

and almost impossible to mess up. My

biggest tip for any slow cooked sauce is to

make it a day or two ahead. The flavours

only get better with time. Serve it with

pasta, mashed potatoes or polenta for a

rich, comforting winter dinner.

Serves 4 - 6

Preparation time: 15 minutes

Cooking time: 3 hours 45 minutes

1.4 kg beef short ribs

3 tablespoons olive oil

1 onion finely diced

1 carrot finely diced

2 sticks celery finely diced

5 garlic cloves minced

2 tablespoons tomato paste

500ml red wine, I used a chianti

2 x 400g cans whole tomatoes, hand crushed

in a bowl or with a potato masher

250ml beef stock

2 sprigs rosemary

2 sprigs thyme

2 bay leaves

salt and pepper

lemon zest, Parmesan and chopped flat leaf

parsley to serve

Preheat oven to 160°C.

Pat the short ribs dry and season well with salt

and pepper.

Heat two of the tablespoons of olive oil across

two fry pans (or do in batches in one) on a

medium-high heat and sear the short ribs on all

sides until golden brown and set aside.

Heat the remaining 1 tablespoon olive oil in

an ovenproof casserole pot/Dutch oven over a

medium heat. Gently fry the onion, carrot and

celery until soft, about 10 mins. Lower the heat

if you need, it shouldn’t be browning.

Add the garlic and cook for a further 2 minutes.

Add the tomato paste, mix in well and cook off

for 2 minutes.

Add the wine and bring to a gentle simmer for a

few minutes, it doesn’t need to reduce.

Add the tomatoes and stock and bring to a simmer.

Add the short ribs back in with the bay leaves and

herb sprigs. There should be enough liquid that the

beef is mostly covered, add more stock if you need.

Cover and place in the oven for 3 - 3.5 hours. Check

it at 3 hours but it will probably need the extra 30

mins. The bones should slide out easily from the

meat when it is ready.

Pull the meat out, discard the bones and pull the meat

apart with two forks. Discard any big pieces of fat (get

rid of the herb stalks too) and each piece might have a

little sinewy layer that should be discarded.

Add the pulled meat back into the pot and let it

gently bubble away on the stove top while you cook

your pasta. I like to add the cooked pasta straight

into the ragu with a splash of pasta water and let it

gently bubble away for a good few minutes.

Portion-wise, I allow a heaped cup of sauce per

person so you can portion it out before adding pasta,

depending on how many people you are serving.

I love to serve with some grated lemon zest on top

(trust me on that!), some finely chopped Italian

parsley and freshly grated Parmesan.

2026

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58 Magazine | Feature

Par-tea time

Tiny sammies, mini savouries, delectable bite-sized sweet treats, a pot of your favourite

brew and maybe (definitely) a glass of bubbles – we get the tea on the perfect high tea.

WORDS JOSIE STEENHART

perfect high tea is less about rushing through

“A tiers of food and more about turning it into a

leisurely two-hour occasion – ideally in an atmospheric,

heritage setting,” says Fable Hotels operations manager

Jeremy Jourdain.

“Our building’s history emphasises lingering over

conversation and being in good company,” he says of

Fable Dunedin’s sought-after afternoon tea offering at

The Press Club.

“The Press Club is inside the Wains Hotel building,

classified as a Category I historic place by the New

Zealand Historic Places Trust, and draws inspiration from

the writers, editors and publishers who once gathered

here. The poet Thomas Bracken was among their

members; he penned New Zealand’s national anthem.

“A perfect high tea, for us, means combining attentive

service, plentiful tea and beautifully presented sweet

and savoury items. We have an exceptional Dilmah tea

selection and we also offer prosecco or champagne

upgrades. We find this fine balance captures the essence

of a classic high tea and adds the distinctive character of

Sri Lanka’s world-renowned tea tradition.”

Current favourites among the sweet and savoury items

include salmon cakes with wasabi mayonnaise, pistachio

cheesecake, a “showstopper” white forest cake -- and

apricot and cheese scones.

“This is one of those unexpected items that often

becomes a talking point at high tea,” says Jeremy.

“Unlike a traditional plain or fruit scone, it combines

the gentle sweetness of dried apricot with the savoury

richness of cheese, creating a flavour that’s both

comforting and surprisingly sophisticated.”

For executive chef Tim Smith, who oversees Hippo’s

highly celebrated high tea at Wellington’s QT hotel, the

perfect offering is “about the moment, the occasion and

the ritual of it all – coming together to share excellent

food and a wonderful experience.”

“Hippo High Tea has become iconic for a reason – the

food is always top tier (pun intended), with delicious local

and seasonal ingredients, and the vibe of the restaurant

always brightens the mood. High tea should be about

more than what’s just on the plate – it’s the full package.

“Our high tea has a selection of savoury and sweet

treats spread across a three-tier tower, and each item is

carefully considered to both complement the other items

while also having its own moment in the spotlight. Think

croquettes, crostini and tartlets, before moving on to

cake, tart and eclairs. We also have seven bottomless teas

available from our roaming tea cart, including a rotating

tea of the week, and for a touch of luxe, our high tea is

served with a glass of bubbles. For those wanting to up

the ante even further, Hippo has a selection of cocktails,

mocktails, spritz, bubbles and wine to turn a light lunch

into a party.”

A few customer faves currently on the menu? “The

ham hock croquette with caramelised onion, sage

emulsion and deep fried sage is a favourite – they’re

always the first to go from the tower. I also love seeing

people’s faces when they try the eclair – ours is done

with basil lemon curd and lemon fondant glaze. It’s not as

sweet as your traditional eclair but the flavour profile just

sings. For something extra special, you can’t go past the

Indigo After Rain – vodka, Galliano Vanilla, butterfly pea,

lemon and tonic. Just try to order one without taking an

Insta snap, I dare you.”

One of Christchurch’s top high tea offerings – as you

might expect – comes from Crowne Plaza in the city centre.

“The perfect high tea is about bringing together

delicious food, premium teas, great company and a

touch of luxury – allowing guests to escape their busy

day and enjoy a memorable experience,” says Crowne

Plaza’s Ella Gordon.

What sets it apart? “High tea at Crowne Plaza

Christchurch combines traditional high tea elements

with a modern twist,” says Ella.

“Guests enjoy handmade pastries, freshly baked

scones with cream and jam and contemporary

savoury options, all while overlooking Victoria

Square. With premium tea selections, barista-made

coffee and the option to upgrade with bubbles

or Telmont Champagne, it creates a luxurious yet

relaxed experience.”

With a fresh new menu, Crowne Plaza’s take is “a

contemporary reimagining of the traditional offering”.

Combinations like the hazelnut and matcha

dacquoise and the fried chicken, kimchi and gochujang

mayo slider have quickly become favourites, alongside

T2 teas and Telmont Champagne.

“Every bite is made fresh in house,” says Ella.

“In the light-filled setting overlooking Victoria

Square, Crowne Plaza’s high tea offers a sense of

occasion that goes beyond the plate.”

Make Special

Happen

Gather, indulge and savour

an elegant High Tea designed

to make every occasion feel

extraordinary.

310 PRINCES STREET, DUNEDIN CENTRAL THEPRESSCLUB.CO.NZ

@THEPRESSCLUBDUNEDIN

60 Magazine | Arts

Walkable art

Dunedin artist Ana Teofilo’s latest

work is displayed not on the walls of

Tūhura Otago Museum, but on the

floor – with the compelling, largescale

carpet a key feature of the newly

refurbished Tāngata Moana gallery.

WORDS KIM DUNGEY

PHOTO GERARD O’BRIEN

Ana Teofilo steps into the dim light of a museum

gallery that is not finished and not open to the

public. Outside, there’s the chatter of children but in

Tūhura Otago Museum’s Tāngata Moana (Peoples of

the Ocean) Gallery, there is only silence and signs of

things to come: a step ladder, empty display cases,

bench seats pushed together in one corner.

The work going on is the first revamp of a main

gallery at the museum in more than a decade and

at its heart is a striking carpet that Teofilo designed

to tell a story of culture, connection and continuity

across the Pacific.

Seeing it installed for the first time, the New

Zealand-born Samoan artist is ‘‘emotional,

overwhelmed and proud’’.

Months before, she was in the museum’s

basement, seeking inspiration among one of the

most important Pacific collections in the country.

The stores include wooden carvings, tapa cloth and

other artefacts from Tonga, Samoa, Fiji, Niue and the

Cook Islands.

Holding measina and taoka (treasures) with

intricate detailing rarely seen today was her favourite

part of the project, she says.

‘‘There was a lot of emotion for me because I feel

like a lot of it should be seen. It needs to be seen.’’

‘‘So I knew my job was to take certain motifs that

we see every day, but also motifs we don’t see, and

to bring them alive in the carpet.’’

Ana’s hand-drawn sketches on A3 sheets of paper

were carefully translated into a large-scale installation

by the museum’s senior designer, Anna Taggart, who

digitised and adapted the design for production.

Visually, the carpet evokes the relationship between

land and ocean, with forms that suggest islands

surrounded by water.

Rich blues and turquoise tones reference the ocean

that connects Pacific peoples, with layered earthy hues

representing land and the natural materials from which

many taoka are made.

Every element is connected to an artefact or a

symbol that is found across Pacific cultures, she says,

with several, such as frigate birds and a floral ‘‘compass’’,

speaking to migration, navigation and ancestral voyages

across the ocean.

“The daughter of Samoan parents who came to Dunedin

in the late 1980s, seeking ‘a better life and a better

future’, Ana says there are many public spaces where

Pasifika people don’t necessarily feel well-represented, so

being part of the gallery redevelopment has been special.”

62 Magazine | Arts

Arts | Magazine 63

In Pacific culture, birds are considered messengers

between the earthly and spiritual realms. In the gallery,

they act as ancestral guides, watching over the space and

those within it.

The shape of the carpet’s main design element was

inspired by a pandanus fan. Found across many Pacific

cultures, fans are not just used for cooling down or

ceremony; they also represent honour, leadership and

woven stories passed down through generations.

Elsewhere in the design, there’s a coconut palm –

nicknamed the ‘‘tree of life’’ because every part, from the

fruit to the trunk, is useful – and a motif that could be

seen as either a frangipani or the footprint of a plover bird.

The lines through the carpet vary in width and are not

quite straight – a deliberate technique that reflects that

tapa cloths are invariably imperfect.

Ana also wanted the design to be playful and

interactive; she can imagine her children, aged 4, 7 and 8,

exploring the symbols and picking out ones they like.

A wavy line of yellow dots guides visitors around the

perimeter of the gallery. Finding that many items in the

Pacific collection featured ‘‘repetitive dots’’ was a ‘‘light

bulb’’ moment, she says. It’s a pattern that is rarely seen

in modern tapa but one she uses in her own work –

adding opaque glue dots to her carvings.

The discovery gave her a ‘‘bit of perspective’’ and made

her realise everything in design has been done before:

‘‘We’re just reinterpreting stories’’.

‘‘It also felt like my ancestors are guiding me when

I create, without me even knowing that it’s already

been done.’’

The daughter of Samoan parents who came to

Dunedin in the late 1980s, seeking ‘‘a better life and a

better future’’, Ana says there are many public spaces

where Pasifika people don’t necessarily feel wellrepresented,

so being part of the gallery redevelopment

has been special.

Growing up, she copied the patterns of the traditional

tatau (tattoo) on her father’s body and developed a

passion for art while at high school. That led to her doing

a masters of visual arts and last year she opened her

own gallery and studio where she showcases her work

and hosts art workshops.

Some of those arriving at the St Kilda space are

from her alma mater, Queen’s High School. At their

age, she didn’t see art as a ‘‘real’’ career pathway

because there were few examples of Pasifika people

engaged in it fulltime.

‘‘I always reflect back to what I never had growing up

– especially loving art – knowing that if someone was just

down the road who I could go and visit, it would have

given me a lot of hope to know ‘OK, you can do this’.’’

Tūhura Otago Museum says the Tāngata Moana gallery

is the first major one at the museum to be refurbished

since the Southern Land, Southern People gallery was

updated in 2015.

Previously called the Pacific Cultures gallery, it had

remained largely unchanged since it first opened in the

early 1960s.

After the space closed in January last year, the project

evolved through consultation with Pasifika communities

in Ōtepoti and beyond.

“These conversations highlighted an opportunity to

create a space that more meaningfully reflects Pasifika

cultures, stories and identities, shaping a significant

redevelopment of the gallery’s Polynesia section,” it says

in a statement.

The renewed space includes updated lighting, refreshed

display cases and digital storytelling. Removing internal

walls also created an open-plan layout ideal for cultural

ceremonies, performances and educational sessions.

Community members selected taoka from the

collection to go on display and, in some cases, loaned

items of their own.

“This collaborative approach has ensured that Tāngata

Moana is not just a refreshed gallery, but a space led by

Pacific voices.”

While museum director Dr Ian Griffin describes the

redevelopment as nationally significant, Ana simply hopes

that people will enjoy spending time there.

“As you would when visiting the Pacific Islands, I hope

visitors feel a sense of warmth, embrace and genuine

connection”, she says.

“It’s a colourful and joyful carpet, and I hope people

can feel the love, care and intention woven into every

part of its journey.”

04 - 27 July 2026 - OPENING EVENT 04 JULY 2pm

Ki te Ao

Mārama

The world of light and understanding

Robin Slow

03 325 1944

art@littlerivergallery.com

littlerivergallery.com

Main Rd, Little River

64 Magazine | Read

Book club

Great new reads to please even the pickiest of bookworms.

Contrapposto

Dave Eggers | Allen & Unwin, $38

Twenty years in the making, a big-hearted novel about

art, life and the complicated beauty of both – from

the author of The Circle, A Hologram for the King and A

Heartbreaking Work of Staggering Genius. Cricket is just a

shy kid who likes drawing when he first meets Olympia.

She’s older, more confident; she bullies him into some

light vandalism and instantly he’s in love. When they’re

together, they talk about their futures, how they’re

going to travel the world, and the beauty and rapture

of art. Then those futures start to arrive in unexpected

ways, the years and decades pile up between them, the

art world seduces and disappoints and frustrates them.

A wild and wonderful tale of two friends who believe

they can change the world, if only they can remain

open-eyed and open-hearted, avoid going mad, avoid

dying young of rare cancers, stay true to their ideals

and never tire of beauty.

Every Lake

Adam Perry | Allen & Unwin, $38

When Alice was 15, her father killed Mia Heywood

in their lakefront cottage before vanishing into the

trees. At least that’s what the locals think happened.

More than a decade later, Alice has lost her job as a

journalist, she’s going through an expensive divorce

and she desperately needs to sell the boarded-up

‘murder house’. But before she can do that, she has

to find out what really happened. Tall Pines still has its

secrets – the postcard-perfect Otago landscape hides a

deep divide between the residents and the rich holiday

homeowners. Alice learns that more than one crime is

being covered up and alibis are veil-thin. One dead girl is

a tragedy, a second cannot be a coincidence. The debut

novel from Christchurch-based writer Adam Perry.

The Bookshop Detectives #3: Murder & Mojitos

Gareth Ward & Louise Ward | Penguin, $38

The Bookshop Detectives are on the case! Booksellers

Garth and Eloise Sherlock (and their cowardly dog Stevie)

have been roped into hosting Murder and Mojitos,

a glamorous Art Deco festival event starring Cuba’s

queen of crime fiction. Between flapper frocks, rooftop

hijinks and competitive cocktail shaking, it should be

the bookshop’s biggest break yet. But when mysterious

parcels arrive at the shop and a body turns up on a quiet

local beach, every clue points back to Arthur Pinter – the

literary-obsessed serial killer from the Sherlocks’ past.

With the drinks flowing and half of the town in costume,

Garth and Eloise must untangle a web of old betrayals,

new alliances and international intrigue before the

festival’s finale turns into a bloodbath. Can they protect

their staff, their small town and their beloved bookshop –

or will this be their final chapter?

Billie King

Shannon Kelly-White | HarperCollins, $38

1918: Australia’s last male bushranger, Dulcie James,

holds up Anna King’s falling-down farmhouse. There’s a

scrawny, unloved infant on the floor, Anna seems more

furious than frightened, and it’s the bushranger who’s

left shaken. The next day, Anna disappears. Twelve

years later, Anna’s daughter, Billie King, is a girl ready to

explode. With a missing mother, the rent in arrears and

her alcoholic father’s gambling debts to cover, she has

no time for school. But when child services threaten to

remove Billie from her father, she must decide between

continuing her search for her mother and keeping

what’s left of her family together. A fast, fresh, funny and

hugely entertaining novel of mothers, daughters and one

gutsy girl who gets caught up in Australia’s last female

bushranger’s quest for revenge.

Read | Magazine 65

SCORPIO BOOKS’ STAFF PICKS

Hide and Seek

Søren Sveistrup | Michael Joseph, $38

The next Scandi-noir crime from the author of The Chestnut Man follows detectives

Thulin and Hess as they hunt a vicious killer that taunts and stalks their victims until

striking. Despite the darkness and the sense of impending doom that haunts a few of

the characters, this book had me hooked from start to finish. The tense cat-and-mouse

chase and the complicated network of narrative threads that Sveistrup weaves together

all lead precisely and surely to a conclusion that’s as satisfying as it is unpredictable.

Destined to be translated into a television series like its predecessor, if you’re a fan of

police procedurals and Scandinavian mystery I can’t recommend this author enough.

– Sophie

When There Are Wolves Again

E. J. Swift | Arcadia, $38

This urgent and inspiring novel weaves past, present and future into a shimmering

tapestry. An ode to co-existence and to the commons, to looking after the land and all its

creatures and allowing them to look after us in turn, this book filled me with hope for a

future I hadn’t previously dared to dream of. Journeying through Covid anxiety and climate

protests, generational farmland and rewilding projects, the dual narrative that shapes

this story is cleverly wielded. Passion radiates from Swift’s writing in a way that can’t be

ignored as she guides us through this brilliant novel and gently nudges us to look to the

past to secure our future. This is eco-fiction at its most hopeful, offering up a potential

future that we can create if only we are brave and united enough to do the work.

– Kazia

Land

Maggie O’Farrell | Tinder Press, $38

The heart of this beautiful new book follows a father and son whose job is

to map the land of Ireland for the British soldiers not long after the end of

the Great Famine. They come across a sacred water well, which ends up

dramatically changing their lives. We’re taken through the area around the well,

spanning more than 1000 years, looking at the history of the people and the

land, how we’re connected and affect each other. Beautifully written, this story is

striking, interesting and full of human depth, following many different characters

as they each have their own moment as the protagonist.

– Bryony

66 Magazine | Last Word

Wild dining

Chef Josiah Smits’ Motueka eatery

The Smoking Barrel has taken out

the Monteith’s Wild Food Challenge

for the second year running.

WORDS JOSIAH SMITS

PHOTO SAMUEL RICHARDS

Our 2026 dish ‘Forest to the Sea’ was inspired by

the absolute local and wild components that we

are so lucky to have available to us. It celebrates and

encompasses the word “WILD” in every way and tells a

beautiful food story that aims to take you on a journey

from the forest to the sea. A collaboration of over 20

people to bring all of the components together and a

personal investment of my heart and talents.

Some of the components included: yellowfoot pāua

dived for by my friend Tim from Ocean Speared who

also lives in Upper Moutere, collected from the pristine

waters of the Cook Strait when we need them. A

spectacular NZ shellfish of which I feel so privileged to

have been able to feature for this competition. We used a

coarse grind so you can really taste and feel the pāua when

eating the dish. These things are expensive and harder to

find than regular blackfoot pāua which is why you probably

won’t find them on many menus in other restaurants!

Wild Marlborough venison short ribs hunted and

processed by Scott and the team from Awatoru Wild

food. There is so much variation in working with wild

products like this and preparation takes extra care and

attention to detail. Working with varying degrees of fat

content and thickness. You need to know how to adapt

to achieve a consistent final product.

Six different types of wild foraged mushrooms from

Neudorf Mushrooms, just 15 minutes up the road

in Upper Moutere. The owners are parents of our

amazing barista.

Hua salt from pāua collected out at Anatori – a part

of the paua that’s considered waste and usually thrown

away. I wanted to take on the challenge of creating

something palatable and dish-enhancing [from it]. It’s

cleaned up, dehydrated for two days then ground to a

powder and incorporated into a finishing seasoning salt.

The feijoa, kiwifruit and horopito BBQ glaze was

made with fruits grown in Uncle Simon’s backyard

in rural Rīwaka and created with love in his home

kitchen, and our Douglas fir pine-tip molasses, also

made by Neudorf Mushrooms, is something incredibly

special and like nothing you’ve tasted before, made by

simmering the pine tips with raw sugar for four days

until the magic happens.

There are so many small details involved in bringing

together a dish like this. Many, many hours and months

of ideas and ingredient planning, sourcing and gathering,

cooking and preparing, until finally it all comes together.

I love the challenge of working with wild produce.

There are so many variables. Size. Texture. Fat content.

Availability. Weather. You have to be able to adapt to

what you get handed. The challenge is also to take wild

items that people may have tried in the past (and not

enjoyed) and change their mind on those things. I love

that. It also promotes sustainability and pest control, and

brings some of the small local producers into the spotlight.

We’ve just ticked over 10 years of business at The

Smoking Barrel with my amazing wife, Rachel and three

great kids. Early on when I started cooking, at age 17,

I always wanted to have my own restaurant. It was my

dream. The reality is, it’s damn hard work but I had to

have a crack.

I’m born and bred in Motueka. My home and

community. We carved a niche in the market and set

ourselves apart from others early on with some unique

points of difference. Low ‘n’ slow smoked BBQ. Fresh

gourmet handmade donuts. Cocktails.

What do I love about living here? The community

spirit. Man, have we had the community behind us on

this one! We feel like that support and encouragement

grows every year. We love the people, the stunning

weather, the beaches, rivers and lifestyle. It’s a beautiful

place to call home.

ADVERTISEMENT

“I’ve landed in the right spot.”

“Maria, my wife and my co-pilot in life, came up with

the bright idea of moving to Summerset. And it’s

worked out brilliantly.” Resident, Hans Nagelkerke,

shares why he made the move to a Summerset village

sooner rather than later.

“With our entire family living in Holland and the two

of us getting on in age, we realised that we needed

more support. We’ve lived in the area for close on 31

years, and loved our community, so moving into the

village didn’t feel like a massive adjustment at all.

We literally picked up where we left off at a different

address, except now we have a whole community

looking out for us. I’m a retired Air New Zealand

engineer and recreational pilot, so my passion is

anything to do with flying.

makes it easier to come and go as I please. The way

I like to describe it to my friends is, ‘Imagine living

in a five-star hotel but with your own furniture.’ It’s

also great knowing my wife has all the support she

needs and her close circle of friends at the village.

She’s never been happier.

Although she does have to put up with my personal

flight simulator occupying an entire spare room

now! Look, I’ve never been one to push advice on

anybody; it’s not my style, but I do encourage friends

to come and visit and see for themselves what the

good life can look like.”

If you would like to know more about the

Summerset life, pop into one of our five

Christchurch villages or visit summerset.co.nz

My weeks are pretty full, working as a guide at the

Air Force Museum of NZ, as an instructor at Flight

Experience’s flight simulator and I also drive the

van for Age Concern. (Another worthy cause to

spend “spare” time). So, living at Summerset just

03 July 2026

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