Living Magazine | Journal 01 | Generus Living

S I R G R A H A M E SY D N E Y PE A RSO N H O U S E / S E V I L L E / T H E FA R M E R ’S DAU G H T E R / W H I S K E Y D E M YST I F I E D / PI C K L E B A L L / E L ECT R I C CA R OW N E RS H I P

Journal.01

WELLBEING AND LIVING

III

Journal.01

In bringing Living to you, our aim was to create a bespoke publication that reflects the discerning tastes and interests of our communities. Thoughtfully crafted, it shares the unique stories, passions, and experiences that make us who we are. More than just a magazine to entertain, Living is designed to inspire and foster a sense of connection.

Through its pages, we celebrate the joy of living well and embrace the essence of life and community.

As an innovative private New Zealand-owned company passionate about creating world-class senior living environments, we wanted to design an engaging magazine, put together with the same exacting consideration as we employ when building physical residences around the country.

With our passion for local heritage, history and landscape in mind, we are delighted to have New Zealand artist Sir Grahame Sydney grace the cover of our debut issue of Living. Sir Grahame’s familiar themes of the power of vast landscapes, of the grandeur of nature even at its emptiest and of light and shadow will be known to and coveted by many. His singular aesthetic is immediately recognisable on canvas, and his 50-something years as a notable figure in New Zealand’s art scene is certainly worth exploring. And on a personal note, Sir Grahame – before the knighthood – happened to be a teacher of mine at Cromwell High School before he embarked on his long and celebrated artistic career. While his mastery of egg tempera and pigment certainly didn’t rub off on me as a youngster, I know we share a passionate interest in the widescreen landscapes of Central Otago, along with the environmental challenges it faces today. Our interview with Sir Grahame commences over the page.

Elsewhere in this issue we explore the streets of Seville (see page 18), meet chef Kate Rose from the popular Farmer’s Daughter restaurant north of Auckland (see page 24) and look to demystify the idea of owning an electric vehicle. Is it time for you to make the switch? Our guide, which starts on page 36, is designed to help give you the answers.

On behalf of all of us at Generus Living, I hope you enjoy this inaugural edition of Living.

Graham Wilkinson

For all Living content and more visit: generus.co.nz

Director Generus Living

Grahame

In creating the actual out of the imagined, Sir Grahame Sydney’s singular aesthetic is astonishing in its detail. Yet such awe-inspiring power and quiet drama on the canvas is hard fought and won in the studio. “Every time I get something finished, I think it’s a miracle; I’ve gotten away with it,” he tells us in this exclusive interview.

PHOTOS: Vinesh Kumaran

Sydney

The beautiful lie.

4

His compositions in nature are immediately recognisable as his

“Paintings don’t have to be honest. Even so-called realism doesn’t

and only his. Atmospheric meditations on the vast, widescreen

have to be honest: it’s just a term. If you want honesty, take a

landscapes of his beloved Central Otago. They are at once filled with

photograph, because a photograph doesn’t make any discerning

open space, yet also heavy with detail.

judgements. It doesn’t leave anything out.” Sydney says that, on

Telegraph poles, lonely weather-beaten buildings, silent railway

the contrary, as an artist, making decisions and judgements about

crossings and empty roads – if there is a human element to these

what remains inside the frame is all he does. It’s akin to a game the

large-scale vistas, it is usually decaying, somewhat futile and

artist plays, ensuring whatever remains on the canvas is something

forgotten. More recent works even serve to get rid of such clutter,

memorable and effective. But not necessarily true.

leaving just the landscape itself, ever more isolated and untouched.

“I select what I want to use. What’s going to be the most effective?

As a result, if you stand in that Central Otago landscape – with or

What’s this about? What needs to remain and what can be left out?

without Sir Grahame Sydney by your side – you can’t help but be

Different foreground, different sky, shift this from here to there. I

reminded of his work. His life’s work has become the definitive

make decisions about what I think the painting needs. And what I

record of the region in egg tempera, watercolour and oil on linen.

think it needs will be different to what you think it needs.

To the north and south of his beautiful, book-filled home in the

“It amuses me when people say ‘Oh, we’d love to know where

Cambrian Valley on the road to the hamlet of St. Bathans, lie two

you did that painting’. And all I can say is you’re just going to be

reoccurring geographic backdrops to many of Sydney’s works – the

disappointed, because they’re not reality. Although the paintings

Dunstan and Hawkdun Ranges.

look realistic, they are the proverbial beautiful lie. They always have

“The Hawkduns in particular have fascinated me for many years. I’ve

been. No one knows what was true and anyway, it actually doesn’t

never tired of them,” he says. “I love the symmetry of them. They’re a

matter.”

sort of unexpected, pleated range - ridge and valley, ridge and valley,

What is irrefutable, however, is Sydney’s work ethic. It’s

ridge and valley - in a lovely repetitious triangular form. “They catch

something that was instilled in him from an early age. After

the light amazingly. And in every season, they’re different. I find they

the burgeoning artist returned to Dunedin in 1974, broke and

provide a beautiful theatre for whatever the season is or whatever the

depressed following an underwhelming overseas experience in

light is doing.”

England where he dreamed continual dreams about the Central

Having revisited the Hawkduns and other Central Otago landforms

Otago of his youth, his parents were endlessly supportive as he

at many points over his career begs the question whether Sydney

made a fresh attempt to find his artistic voice. But they insisted

ever relies on photographs or sketchbooks when composing new

he treat his art like a job.

works featuring familiar landmarks.

“The deal was, I could stay at home in my bedroom studio and live

“I still take photos of these places because they’re important and

there for free, but I had to work dad’s hours. ‘This is not a hobby

fascinating to me. But I make a lot of it up too. You can fool anyone,”

son,’ they’d say. ‘If it’s going to be a job, then you’re going to go to

he smiles.

work at the same time as dad.’”

GRAHAME SYDNEY

Journal.01

‘Corner Store, Naseby’. Oil on Linen. 710 x 1060mm. 2020. Private Collection.

‘Silent Spring, Fall’s Dam’. Oil on Linen. 710 x 1010mm. 2018. Private Collection.

and Hodgkins Fellow, Michael Smither, also drummed into the young Sydney.

“I’d left university by the time he was on the Hodgkins Fellowship, but I went back to see him often,” remembers Sydney. “He used to turn up for work at quarter to nine, and by nine o’clock he had strapped on his butcher’s apron, and he was at work. He’d stop for morning tea and he’d stop for lunch. But it was a job to him. ’It’s business. You don’t get anywhere if you don’t work’, was his theory. He’d say ‘Don’t fool yourself into thinking you’re special because you’re not. Everyone else can do something that you can’t, so don’t forget it’. That’s a good way of looking at it actually. I’ve thought about that all my life.”

As a result, Sydney will spend many hours in his studio each day, interspersed with brisk dog walks across neighbouring lanes and fields. A chance to clear the head after such intense sessions? Not at all.

The Departed’. Egg Tempera on Gesso. 610 x 915mm. 2024. Private Collection.

The ethos of the honest day’s work was something renowned artist

“I don’t think I’m ever free from thinking about what job I’m on. I’m always thinking about what’s going on in the painting,” he says.

“What have I got to do? What isn’t right? How can I make this better?

It’s like a cupboard in your brain that the door is shut on, but you know when you’re elsewhere there’s still always activity going on inside it.”

Beyond the canvas, however, there is undoubtably a business to being a successful artist. While Sydney has experienced plenty of success (along with lengthy struggles), he says the level-headedness required to learn how to survive in the arts and the art itself should never overlap.

“You never think of the business when you’re working. I don’t care what you’re doing. Whether you’re a photographer or a musician or a writer, you can’t allow the audience to intrude on what it is you want to do, because that’s an immediate diminishing of the thing that matters most.

“The moment you start thinking of the audience, you dilute your individuality. I believe you never follow an audience; you should lead it. And that’s a mistake a huge number of people make. They please the audience first. It can work, of course, you can survive that way.

“ Whether you’re a photographer or a musician or a writer, you can’t allow the audience to intrude on what it is you want to do, because that’s an immediate diminishing of the thing that matters most.”

But it’s not where good art comes from.”

Good art of the Grahame Sydney kind comes latterly via oil on fabric.

And in his formative years, watercolour along with a unique and ancient painting method: egg tempera.

Before the 15th century Dutch discovery of oil paint, which could dry clear and stable on a vertical surface, all painting was done in egg tempera. Pigment is colour, but only becomes paint when it is glued up with a binder. The binder was necessary to stop the pigment from slipping down a vertical surface during the drying process. The yolk of an egg was discovered as the earliest binder to retain pigmentation.

Journal.01

GRAHAME SYDNEY

7

8

When mixed with water, it becomes an emulsion. The oil particles

“And from then on, I’m a salvage operator. I’ve learned how to recover

are suspended opaque like milk. The water evaporates off and the oil

from nightmare scenarios of mistakes, unwanted things happening,

particles stay behind, gluing up the pigment. The artist can apply as

uncontrolled things… I’ve become a very good salvage operator,” he

much water as desired, as long as there is the right amount of emulsion

says.

to pigment, with the colour of the yolk disappearing as it evaporates.

“Sometimes there are accidents that become happy accidents. But 90

The technique doesn’t like a big brush, or a flood of water, with the

percent of the process is hard labour. It just is. But then, at the end,

artist getting the best results by building up a tapestry of small, woven

there’s a glimmer of excitement because you’ve got it done. You’ve got

strokes. The method, says Sydney, is more akin to drawing with a sharp

something done.”

pencil than painting with a brush.

Something done. Is that the same as being happy with the result?

“It suits somebody like me who likes to be patient and build things

To the audience, especially those who covet Sydney’s works as

carefully. It gives you amazing control over textures and tone, shifts and

marvellous creations, the ‘done’ thing is compelling and awe inspiring.

edges; all the things that matter. It’s very painstaking, but it can also

But to the artist?

produce effects that are unproducible in any other medium.” Regardless

“Hardly any creative people will ever confess to being happy,” he smiles

of the materials, Sydney’s technique is rewarding in its detail, but it

wryly. “You always think you could have done better. But you learn to

is methodical in the extreme, requiring intense concentration and

keep that to yourself. Because if you stand in front of a painting you’ve

patience. Compositions take months not weeks. Some might be set

done, and you say to people, ‘Oh, you know, I had real trouble with X,

aside for entire seasons – years, even – before he returns to them.

Y and Z’, that’s all they’ll see. So, you learn to keep your mouth shut.”

“The paintings never go away,” he says. “To me, professionalism is

But at the same time, there is an undeniable drive – an optimism -

finishing rather than abandoning. Disguising the labour, disguising the

within the artist. At 76 years of age, Sir Grahame Sydney firmly believes

problems – these are the things you get good at over time.”

he hasn’t done his best work yet.

Utilising such precise, considered techniques – and with all of Sydney’s

“I always want to be better, and I don’t think I’m as good as I could be,”

accumulated experience in mind – it almost seems baffling to an

he says. “I’m terrified of complacency, so I’m always trying to be better.

outside observer that there would be problems to overcome.

“I’ve been lucky to get the opportunity to do this. I don’t think I’ve

Always his strongest critic, Sydney is characteristically blunt in his

worked hard; I think I’ve worked stubbornly and determinedly. I think

explanation of the internal jostle between light and dark while creating

what I did best was to not give up.

a new composition.

“When I was in deep debt for example, and the family was growing, I

“The pattern is normally you start into a new idea which you’ve been

kept going. I just had the thought that one day I’m going to get out of

nursing and nurturing for so long, and finally the opportunity comes

it. If that’s optimism, then yes, I have that. But I think I’ve got this far

to get started on it. You start with great excitement because this is

trusting in something. I don’t like intellectualising about it – I’m much

going to be a good one. Then within half a day, you’ve plunged into such

more instinctive than that. But I have a feeling that this is something

despair that you think ‘I don’t know how I do this’.

good, something powerful. There’s something here.”

GRAHAME SYDNEY

Journal.01

A new lease on life The Pearson House refurbishment project is a labour of love bound within historic parameters.

What does it take to bring a category one heritage listed Neo-Georgian beauty back to life?

PHOTOS: Jahl Marshall

Completed in 1926, Pearson House is a beautiful example of a Neo-Georgian building, reflecting the architectural trends of the time.

Created as a residence catering to the needs of blind men and helping ensure the blind were a public presence in the city, architects Gummer and Ford sought to create residential spaces and scale within the template of a larger building.

Richard Mora, General Manager of Development at Generus Living, has been involved in the consenting and master planning of the wider Foundation site in Parnell, along with the Pearson House refurbishment project, since 2017.

“With any retirement village it is important that the resident amenity and shared spaces complement the accommodation offering.

We saw Pearson House with its heritage character as an ideal opportunity to build on,” explains Richard.

“The building has a beautiful scale to it.

We looked at the existing floor plan and saw there was an opportunity to create unique facilities within the rooms in terms of a cinema and cafe and cardio suite and so on. We didn’t want to deviate too far from the original floor plan.”

10

H E R I TA G E

“In this respect it’s a similar project to what we’ve created at other locations.

Generus’ view of a village is that we look to a location and then develop a bespoke architectural response. We’ve done it at Ranfurly Village, for example, which had a heritage building at its centre. The heritage aspect is a wonderful thing to build on and provides a platform for other aspects of the newer development.”

Richard says that well before any work commenced, there was a lot of dialogue in the design phase with Heritage New Zealand and Auckland Council’s heritage specialists to establish what constraints and parameters the team could work within.

“The heritage listing is predominantly concerned with the outside of the building,” he continues. “With the Neo-Georgian design, you’ve got a very strong symmetry to the exterior, so what we could do to the outside was very limited.”

So, how to set about a methodical, yet sympathetic, refurbishment in order to bring the building up to modern standards?

For a start, the age of the building delivered some seismic challenges.

Journal.01

“ The building has a beautiful scale to it. We looked at the existing floor plan and saw there was an opportunity to create unique facilities within the rooms in terms of a cinema and cafes and cardio suites and so on.”

“One of the key determinants in seismic upgrades is looking at heavy elements within the building. Part of the beauty of Pearson House is its very strong chimneys that penetrate through the roof plane. We effectively had to dissemble those, take the original bricks, freight them to Christchurch, have them slipped and then reassembled onto lightweight chimneys that have then been freighted back to Auckland and lifted back into place.

“This means that in the event of an earthquake you don’t have all this mass up in the roof plane.” There was also a significant amount of structural steel that had to be added to the inside of the building.

Richard says it’s about mixing those nonnegotiables with the heritage elements and finding a common path forward. “One of the wonderful things when you go into Pearson House are the grand stairways which are, again, symmetrical to the building’s interior on either side. You can see an indent in the plaster work that runs up the stairwell which was for the visually impaired and blind residents to be able to find their way up and down, basically using a tactile navigator,” he says.

“You see those touch points throughout the building. Heritage New Zealand and Auckland Council focused on those elements

Journal.01

and said ‘you can’t touch those: we’re prepared to step away from the building code and its requirements and the interest of preserving those key attributes’.

“Having the opportunity to develop a village on this amazing site, Pearson House is almost like a historical gateway to the village.

We were able to master plan around its location and decide what amenities it could provide for residents.”

With so many aspects to the Pearson House project, it’s remarkable that the construction program was completed in 13 months.

But Richard says working with a great design team and a collaborative approach to ensure all the desired outcomes has worked well. “It was a compressed program, but we remained on time,” he says.

And now as the final fitout and decorative phase approaches, Richard says the building is set to really come to life.

“The highlights for me are, again, the retention of those rooms. We’ve broken down certain spaces to provide more of a multi-purpose opportunity within the floor plan. So, there are three key rooms as you enter in through the colonnade, and they’re still legible in terms of individual rooms. Overall, it has turned out to be absolutely stunning.”

H E R I TA G E

13

An architectural icon Pearson House stands not just a living testament to the enduring legacies of its founders and the poignant narrative of blind individuals as empowered members of society. It also represents a legacy of the architectural brilliance of Gummer and Ford, the firm which helped reshape perceptions of blindness in New Zealand.

It’s hard to picture Auckland now without its gleaming contemporary glass and steel boxes and spires that protrude from the central city landscape. The totality of lost architectural heritage in New Zealand’s largest city has been much lamented.

Thankfully though, some of the most poignant historical gems do remain: the Auckland War Memorial Museum and the neighbouring Auckland Wintergardens, the Dilworth Building and the Auckland Railway building among others. And proudly counted among such revered addresses is Pearson House.

Sited on Parnell’s Titoki Street and within a literal stone’s throw of the Auckland War Memorial Museum, the connection between Pearson House and those other nationally significant buildings goes beyond proximity: they are all testament to the architectural accomplishment of celebrated architects Gummer and Ford.

Established in 1926 – just three years after Gummer and Ford was founded – Pearson House was created as a residence catering to the needs of blind men and helping ensure the blind were a constant public presence in the city. Over decades, Pearson House would become widely celebrated for its contribution to the Auckland landscape, both aesthetically and socially.

Pearson House was from the outset a striking representation of Neo-Georgian architecture that Gummer and Ford would go on to use as a calling card to demonstrate their expertise.

14

H E R I TA G E

Without it, the Dingwall Orphanage, Auckland Grammar, and even Cornwall Park may have looked quite different.

The roots of Pearson House extend back to the Jubilee Institute for the Blind, later known as the Royal New Zealand Foundation for the Blind, founded in 1890. This institute served as a national beacon for the blind community, and Pearson House emerged as a pivotal component of its larger complex.

Named after the publisher Sir Arthur Pearson in tribute to his work with the visually impaired in the United Kingdom during World War I, Pearson House embodied a transformational shift in societal perceptions towards blindness.

Significant fundraising efforts during the 1920s resulted in the construction of Pearson House, alongside other essential buildings on the premises. Inside, residents found accommodation in spacious dormitories and single rooms, complemented by communal areas for dining, relaxation, and even fundraising events. The building’s design prioritised accessibility for the visually impaired: at the time a revolutionary consideration that further reflected Gummer and Ford’s understanding of unique needs and lifestyles.

Throughout the years, the significance of the residence transcends architectural excellence; it has embodied a rich tapestry of historical milestones, architectural brilliance, as well as social progress towards inclusivity for the visually impaired community.

Journal.01

Heritage image source: Whites Aviation Collection, Alexander Turnbull Library

Travel

Seville We fall in love with Seville’s timeless charm, where fiery flamenco rhythms and the scent of orange blossoms fill cobbled streets bathed in golden sunlight.

History!

Culture!

Flamenco!

Nestled in the heart of Andalusia, Seville is a city that pulsates with Iberian energy, captivating visitors with its rich history, stunning architecture, and passionate flamenco rhythms.

Wandering Seville’s labyrinthine streets can seem akin to travelling through time, especially when standing in the shadow of its opulent Moorish past.

It’s impossible to speak of Seville without mentioning its crown jewel: the breathtaking Alcázar of Seville. This UNESCO World Heritage site stands as a testament to the city’s Moorish heritage, with its intricate tilework, lush gardens, and majestic palaces.

As sunlight filters through the towering palms and citrus trees of the Alcázar’s gardens, you could truly imagine yourself in this very spot in centuries past.

Just steps away from the Alcázar lies another iconic landmark in the shape of the awe-inspiring Seville Cathedral. Towering over the city skyline, this Gothic masterpiece is the largest cathedral in the world and a testament to Seville’s prominence during the ‘Age of Exploration’.

18

T R AV E L

Inside, visitors are greeted by the haunting beauty of the Cathedral’s interior, with its soaring vaulted ceilings, intricate stainedglass windows. As if history didn’t already emanate from every corner here, the tomb of Christopher Columbus sits inside: a reminder of Seville’s pivotal role in shaping the course of history.

More than simply a city steeped in history, Seville is also a modern, vibrant centre of culture and creativity.

Nowhere is this more evident than in the city’s lively neighbourhoods, where colourful street art, bustling markets, and lively tapas bars converge to create a sensory feast.

In the bohemian enclave of Triana, for example, the sound of clacking castanets and the strumming of guitars are common sounds, with flamenco dancers embodying the spirit of Andalusia’s rich musical heritage.

Seville enjoys a vibrant nightlife scene.

Journal.01

“ In the bohemian enclave of Triana, for example, the sound of clacking castanets and the strumming of guitars are common sounds, with flamenco dancers embodying the spirit of Andalusia’s rich musical heritage.”

Journal.01

There’s no shortage of places to wine, dine, and dance the night away. From intimate bodegas serving up traditional tapas to chic rooftop bars offering panoramic views of the city, there’s something for every taste: just be prepared to dine late like the locals do. For those seeking a taste of authentic Sevillian cuisine, a visit to the bustling Mercado de Triana is a must. Here, vendors peddle everything from fresh seafood to artisanal cheeses against a backdrop of lively chatter and sizzling grills. Beyond its historic centre, Seville offers a wealth of hidden gems. In the leafy streets of the Alameda de Hércules, trendy cafes and hip boutiques beckon the city’s trendsetter crowd, while in the quaint neighbourhood of Santa Cruz, narrow cobblestone alleys lead to hidden plazas and secluded courtyards, offering a glimpse into the quieter side of Seville’s charm.

Speaking of ‘quiet’, the gardens of Maria Luisa Park provide another tranquil escape.

Originally created for the 1929 Ibero-American Exposition, these sprawling gardens are home to lush greenery, fragrant roses, and picturesque fountains, making them the perfect spot if you wish to seek a respite from the hustle and bustle of the city. Whether sipping on a glass of ice-cold tinto de verano in a sun-drenched plaza or losing yourself in the hypnotic rhythms of a flamenco performance, Seville has a way of leaving a lasting impression on all who wander its storied streets.

T R AV E L

21

Eat & Drink A sense of place Kate Rose of the Farmer’s Daughter Espresso Bar and Dining Room values community as deeply as she does cuisine.

Recipe A firm favourite at The Farmer’s Daughter Espresso Bar and Dining Room, the kingfish with tzatziki, chargrilled fennel and an olive crumb celebrates fresh seafood all year round.

Whiskey With more aficionados captivated by the history woven into each bottle, or intrigued by its rising popularity as an investment, the allure of this spirit is unmistakable.

A sense of place From local growers to the keepers of the land and her own childhood memories of Matakana, community remains as important as cuisine to Kate Rose of the Farmer’s Daughter Espresso Bar and Dining Room.

PHOTOS: Giona Bridler

Omaha Beach always feels on-trend.

A crescent of golden sand sitting at right angles to the crooked coastline of the Tawharanui Peninsular and within the coveted couple of hours’ drive of Auckland, it is a salubrious settlement filled with big homes, big boats, and driveways that gleam with premium metal.

But here’s a well-kept secret about this idyllic, fashionable spot – for all its ‘Rich Lister’ surface, there is plenty of historic substance to Omaha and nearby Matakana.

Generations have grown up here, cultivating the dark soil, relying upon the bountiful kaimoana. On any given Saturday in spring, it’s hard to picture bustling Matakana Village – with its hip eateries, chic homeware stores, and craft brewers – as a sleepy backwater.

But a sense of nostalgia for and love of the local community are exactly what informs Kate Rose and the food she creates.

Kate is the owner of the Farmer’s Daughter Espresso Bar and Dining Room, which sits at the edge of the estuary alongside the causeway that separates Omaha from the remainder of the Matakana area.

To look at it now, it’s a prime spot; crisp, white weatherboards, leafy overhanging Põhutukawa, sun drenched decks buzzing with diners, and a car park witness to plenty of comings and goings. Remarkably though, the location hasn’t always been like this.

24

E AT & D R I N K

“As soon as I walked in here for the first time, I could see the hard work that would be needed but I could also see the potential,” says Kate. “I called my girlfriends in the city and said, ‘I’ve taken this old takeaway shop on and we’re going to renovate it over the summer.

I’m going to open it into a little café.’

Their response was, ‘Are you mad?’

“They knew and I knew that this old place had been a jumble of different businesses over the years, but none of them had ever really fired for some reason. It was old and rundown – the takeaway shop it had been before I came along had been closed for years. To someone driving past, it probably didn’t appear like it had a lot going for it. But I knew it did.

“I talked to Lois who owns the land, and she was very enthusiastic about my plans.

The project took four months, but she helped me every step of the way – she painted the entire exterior of the building before we reopened, she was giving me tips on how to wash brushes and things like that; I’d never done anything like this before, so I was completely open to her guidance.”

The building and its surrounds freshly renovated; Kate acknowledged all the help Lois had given her in the best manner she could think of.

“I named the café after Lois – she is the ‘Farmer’s Daughter’.

Journal.01

This area is her home and her place, and we’re surrounded by her people, her land – I wanted to keep that connection with her. She really inspired me to do this amazing thing and I just wanted to keep her contribution as a part of our story.”

Kate’s own connection with this place also runs deep. Mention Matakana’s past as a ‘one horse town’ and you might inadvertently be referencing one of her fondest memories of growing up in the area.

“I remember weekends riding down the middle of the road in Matakana on my horse with an ice cream in my hand, coming home from the only shop which was the PostShop and the dairy. You could never imagine having a horse on the road now, let alone on a Saturday, because it’s total bedlam!” she laughs.

“But it’s a really positive thing that so many people have come to the area to live and work. This place attracts people that are natural entrepreneurs and are growing with the area which is great to see happening.”

There is also something of a shared ethos between the food Kate and her team create, and the culinary expectations of The Farmer’s Daughter’s audience – both locals and the many visitors from elsewhere.

“Whether as part of a permanent lifestyle change or for a weekend away, people are coming here for this country lifestyle,” she explains. “They want sustainable, they want organic, they are mindful and want to feel good about what they’re consuming. People are drawn to us that have the same sort of ideas and philosophies we do. They’re passionate about eating good food and having a fulfilled life – and that is really what our business is about too.” Kate says she, head chef Julia Pałasz, and their team are led by the seasons in creating Farmer’s Daughter recipes.

26

But they are also led, quite simply, by what ignites their interests. The idea of ‘family’ also underpins everything they produce; even how the dining space has been designed.

“We’ve got an open plan kitchen and we built that so that when you came in it feels like you’re coming into someone’s home.

Over at the counter there, Julia and the girls are cooking dinner – you can turn around and chat to the people putting your food together.

I think that’s really a beautiful thing.”

“ Whether as part of a permanent lifestyle change or for a weekend away, people are coming here for this country lifestyle.”

The Matakana soil is fertile with a peat base, meaning it’s easy to grow nutrient-dense food right outside the back door. The café’s kitchen garden is overflowing with fresh herbs and vegetables, while an old schoolfriend of Kate’s who runs a local fishing boat delivers fresh seafood in the afternoon that will form the centrepiece of exquisitely plated meals this evening, such as the Long-Lined Kingfish with Tzatziki, Char Grilled Fennel and Olive Crumb. The Farmer’s Daughter has grown quickly, from a lone coffee machine in the window as renovations wrapped up, to 120 seats split over three levels inside and out.

It has become that most sought-after of things in the hospitality industry: a destination.

“The business has changed and moved – it is what we want it to be on any given day,” Kate affirms. “But at the end of the day, it’s still built around this great community ethos.

That feels really good to me.”

E AT & D R I N K

Journal.01

Long-lined Kingfish with tzatziki, chargrilled fennel and olive crumb CRISPY SKIN KINGFISH Start with a 170 – 230g portion of skin-on kingfish.

Heat the pan over medium to high heat with enough oil just to cover the bottom.

Season the skin side of the fillet with flaky sea salt, just before you are ready to cook it.

T Z AT Z I K I 1 cup diced fresh celery 1 cup grated seeded cucumber 1.5 cups unsweetened Greek Yoghurt 2 tbls olive oil 2 tbls fresh lemon juice 2 tbls chopped fresh mint 2 tbls chopped fresh dill 1 clove garlic, pressed or minced 1tsp fine sea salt 1/2 tsp freshly ground black pepper

Lay the fillet in the pan, skin side down, making sure the entire surface of the skin is in contact with the pan.

Cook until the edges are no longer translucent.

Season the flesh side of your fillet and then flip it over, adding a little lemon juice to the pan.

Depending on the thickness it will only need a couple of minutes on the other side – take it out of the pan just before you think it’s ready: it will keep cooking as it rests.

OLIVE CRUMB Combine all the ingredients, stir through until evenly distributed. Taste and adjust seasoning if necessary.

Heat oven to 140C. Lay out the olives evenly on a baking tray.

Cook until dried for 1.5 to 2 hours.

CHARRED GRILLED FENNEL Cut fennel and season with sea salt and olive oil.

Chargrill on a very hot skillet frying pan.

Transfer olives to a chopping board, then chop finely into crumbs.

Place the chargrilled fennel onto the plate, lay the kingfish on top, and sprinkle with olive.

That’s the spirit!

Whether savoured in a lowball glass or admired on the shelf of a collector’s cabinet, whiskey continues to embody a spirit of craftsmanship, timelessness, and exploration – a genuine liquid legacy that evolves with each passing year.

In the dimly lit corners of oak-lined distilleries, where the scent of aging barrels mingles with the rich histories of famous names, lies the essence of whiskey – a spirit steeped in tradition, craftsmanship, and mystique.

At the heart of whiskey’s allure lies its meticulous craftsmanship and time-honoured distilling process. From the carefully selected grains to the patient aging in charred oak barrels, every step of whiskey production is a labour of love. Master distillers, boasting generations of expertise, oversee the alchemical transformation of raw ingredients into liquid gold, imbuing each batch with a unique character and depth of flavour.

But it’s not just the craftsmanship that contributes to whiskey’s hefty price tag; it’s also the passage of time.

Unlike many other spirits, whiskey improves with age, gaining complexity and depth as it matures in the confines of its wooden cask.

The longer it spends in the barrel, the more desirable it becomes, with each passing year adding a layer of richness and refinement that can’t be rushed or replicated.

This aging process comes with a cost – both literal and figurative. As whiskey slumbers in the solitude of the warehouse, it ties up valuable real estate and resources, requiring careful stewardship and patience from distillers and investors alike.

The result is a finite supply of aged whiskey, with each bottle representing a snapshot of time and craftsmanship that commands a premium price.

28

E AT & D R I N K

There is also what’s known as the ‘Angel’s Share’ to factor in: as whiskey ages it evaporates.

During maturation, ethanol, water, and other congeners turn into gases inside the cask which can be lost to the atmosphere, allowing (according to legend) the angels to drink their share. This evaporation generally results in a volume loss of between two and five percent per year per barrel, which adds up over the many years some whiskeys are stored for.

Despite its lofty cost, whiskey’s appeal continues to grow, fuelled in part by a resurgence of interest in craft spirits and artisanal products.

As consumers seek out unique and distinctive flavours, they’re drawn to the rich tapestry of whiskey’s heritage and the stories behind each bottle. Whiskey enthusiasts are willing to pay a premium for quality and provenance.

There’s an allure to collecting and investing.

With prices for certain expressions skyrocketing on the secondary market, whiskey has become more than just a beverage: it’s a potential source of profit and prestige.

For some, investing in whiskey offers a hedge against inflation and economic uncertainty, with rare and limited-edition bottles serving as a store of value that can appreciate over time. For others, it’s a passion project, a way to curate a personal collection of liquid treasure that tell stories of taste, history, and culture.

Regardless of the motivation, one thing remains clear: whiskey’s appeal transcends borders and generations, weaving a rich tapestry of tradition and innovation that captivates the senses and stirs the soul.

Journal.01

Wellbeing & Living In a pickle The intriguingly named sport of Pickleball has blossomed into a major phenomenon across the United States and Europe. Now, New Zealanders are eagerly jumping on the bandwagon, ready to get ‘pickled’ themselves.

The EV explainer Wondering if an electric car is right for you?

Our EV cheat sheet could guide you through the decision-making process.

Wilding pines The environmental and economic fallout from the continued spread of wilding pines throughout some of New Zealand’s most spectacular landscapes is projected to be vastly detrimental. Thankfully a strategy is in place to prevent and help eradicate this pervasive threat.

In a pickle Often described as a cross between tennis, badminton, and ping pong, the unlikely named sport of Pickleball has become a genuine phenomenon in places like the United States and Europe. Now, Kiwis are increasingly keen on getting thoroughly ‘pickled’ too.

The sound of pickleball – a rhythmic thud, followed by the gentle swish of a paddle slicing through the air – is the sound of a sport that has taken nations by storm in the last couple of years.

Fans of all ages say it offers a unique blend of athleticism, strategy, and camaraderie.

Transcending age, skill, and mitigating the necessity to spend hand over fist to ‘gear up’.

For those unfamiliar with the game, pickleball is often described as a cross between tennis, badminton, and ping pong. Played on a smaller court with a lower net, pickleball uses paddles and a wiffle ball (a perforated lightweight plastic ball about the size of a baseball), making it accessible to players of all ages and skill levels.

What began as a backyard pastime has evolved into a bona fide sporting phenomenon, with millions of players flocking to courts in parks, recreation centres, and retired living communities.

Proponents say the sport can be as high-or low-impact as desired. It can be a fun knockabout, but it can also be a fiercely competitive sport that demands agility and strategy.

32

With fast-paced rallies and quick reflexes, pickleball offers a blend of athleticism and mental acuity that keeps players coming back for more. Whether executing a precision drop shot or smashing a winner down the line, each point is a testament to the player’s skill and determination.

Yet perhaps the most compelling aspect of pickleball is its accessibility.

Unlike many other sports which require expensive equipment or specialised facilities, pickleball can be played almost anywhere, from a backyard court to a makeshift setup in a gym.

Pickleball’s popularity also speaks to a larger cultural shift toward healthier, more active lifestyles. Recognising this, Generus Living has created pickleball courts at its Pacific Lakes Village property.

“The sport has proven such a phenomenon overseas,” says Lynne McVicar from Generus Living. “It’s fun and easy to play and gets people moving, so for us it seems like a natural addition to a village setting.” Whether it’s retirees looking to stay active or young professionals seeking a break from the daily grind, pickleball offers something for everyone.

WELLBEING & LIVING

Journal.01

W H AT ’ S I N A N A M E

1

2

3

4

34

SERVE The game begins with an underhand serve diagonally across the court, aiming to land the ball within the opponent’s service court.

For a sport with such recent origins, the etymology of ‘pickleball’ is already surprisingly convoluted.

One story has it that pickleball was invented on a badminton court in the US state of Washington by a politician named Joel Pritchard. He and two friends were looking for badminton equipment to occupy an otherwise lazy afternoon. Unable to find the right gear, the group opted for ping-pong paddles and a wiffle ball.

The popular (but possibly erroneous) version is that the game was named after the Pritchard’s family dog, Pickles. The other origin story is that Pritchard’s wife, Joan, named it after the pickle boats in American college rowing. The pickle boat would often be the least competitive boat in the race, with a crew thrown together at random.

Given that pickleball was essentially a game born out of using leftover equipment from other sports, it’s a neat fit. If indeed it’s true.

RETURN After the serve, each team must allow the ball to bounce once on each side of the net. After this, both teams volley the ball (hit it before it bounces) or play it after it bounces.

VOLLEY Players cannot volley while standing within the non-volley zone, also known as the “kitchen”, which extends 7 feet from the net.

SCORING Points can only be scored by the serving team. The rally continues until the ball hits the net, outside the court or the ball bounces twice. Games are typically played to 11 points, and a team must win by at least 2 points.

WELLBEING & LIVING

Journal.01

The EV explainer The decision to ‘go electric’ can be influenced by a variety of factors ranging from environmental concerns to economic considerations and practicality.

As electric vehicles continue to evolve and charging infrastructure expands, the appeal of electric car ownership is certainly growing. Would an EV be right for you? Our electric vehicle cheat sheet might help with the decision-making process.

Electric vehicles (EVs) are quickly becoming commonplace in vehicle showrooms.

As with any new technological advent though, wider proliferation doesn’t always lead to widespread understanding.

With curiosity growing, we lay out some of the broader questions people typically ask about electric vehicles, batteries, and the ownership experience as they determine if this new form of power is right for them.

What’s the difference between Hybrid, Plug-In Hybrid and BEV? Hybrid vehicles use the combination of electric and traditional petrol or diesel motors to drive the wheels. A traditional hybrid is not classified as an electric vehicle though, as you don’t plug it in to charge the battery.

The more recent evolution is Plug-In Hybrid Electric Vehicle (PHEV) tech. PHEVs can drive exclusively on electric energy or use the internal combustion engine seamlessly and you can plug the vehicle into the energy grid to charge the battery. The combination of electric energy and internal combustion alleviates range anxiety, but they do still emit tailpipe emissions.

36

A full electric, or Battery Electric Vehicle (BEV), only uses electricity to motivate it.

You plug it in, either at home or at a public charging facility, and it allows you to travel about emitting absolutely zero carbon emissions.

How far can I go before I need to charge?

Like every vehicle, this varies from model to model and will be influenced by your specific driving conditions and style.

There are plenty of new EV models that deliver quoted real-world ranges from 320km to over 400km before they require the battery to be recharged.

Do the batteries degrade?

All batteries experience degradation over time, and EV batteries are no different. But the rate of degradation is most likely much less than many people expect. Advances in battery technology mean many manufacturers can offer a 7–10 year warranty on their EV battery, so you can buy with confidence knowing you’ll have many good years’ service.

WELLBEING & LIVING

Journal.01

What is meant by ‘real world’ and ‘WLTP’ test figures?

While the range and efficiency of EV batteries is only getting better and better, you might sometimes see a difference in how far the manufacturer suggests your EV will go, versus anecdotal evidence from existing owners or media reviews.

Every manufacturer is legally obliged to put their new electric model through a series of laboratory tests. This is the Worldwide Harmonised Light Vehicle Test Procedure – or WLTP for short. The key thing to note is that this is a laboratory test, not a ‘real-world’ scenario.

So, why have it? The test procedure is exactly the same for every car, regardless of what type of vehicle it is, or the badge on the bonnet. This means the WLTP figure you see listed can be used to make accurate and fair comparisons from manufacturer to manufacturer. The figure is transparent and a sound bit of information for you, the buyer, to have.

In terms of range, an EV will respond to driving style and other environmental factors exactly like a petrol-powered car would.

If you accelerate aggressively in a petrol car, you use more fuel. And so it goes with an EV – drive hard and your range will deplete faster. There are also all sorts of other factors that will influence your EV’s range, such as weather, temperature, whether you’re driving with a fully laden boot, or if you’re driving in an urban setting or out on the open road.

But generally speaking – and presuming you’re driving to the conditions – you can anticipate your real-world range to be roughly 75-to-80% of the WLTP test figure.

“ In terms of range, an EV will respond to driving style and other environmental factors exactly like a petrolpowered car would.”

Do EVs cost a lot to service?

This is one of the bigger benefits of an EV. The drivetrain components require much less maintenance, the electric motor has very few moving parts and because regenerative braking reduces friction on your brakes, these tend to last longer also.

38

WELLBEING & LIVING

Journal.01

5 OF THE BEST

J E E P AV E N G E R Jeep’s first fully electric option, the Avenger is compact in stature, but big on features.

There’s plenty of room inside and its ‘baby SUV’ proportions make it a comfy cruiser with all the comfort and convenience technology on board you’d expect. From $69,990 plus on-road costs.

MG4 A multi-award winner from a company whose fortunes have radically changed since being taken over by Chinese firm SAIC Motor. The MG4 combines all the best traits of a well-priced hatchback with the convenience of electric-only power. From $46,990 plus on-road costs.

TESLA MODEL3 Ubiquitous on New Zealand streets, the Tesla Model 3 is a genuine sales success from a company which changed the game for carmakers worldwide.

It combines clever technology, space, and pace. From $63,900 plus on-road costs.

J A G U A R I - PA C E The I-PACE is heritage brand Jaguar’s sole electric model, but it remains a worthy inclusion here. Featuring all the executive panache you’d expect from the brand, it’s also a genuinely engaging drive on the open road.

From $129,000 plus on-road costs.

HYUNDAI IONIQ 5 Hyundai’s rise and rise has been meteoric in the last decade, and the Korean car giant’s IONIQ series of electric vehicles have won plaudits for their striking design and premium feel inside and out.

From $79,990 plus on-road costs.

Wrong tree, wrong place Once they get established, wilding pines spread quickly, threatening our unique natural environments and regional economies. It is estimated that wilding pines could cover more than 20% of the New Zealand landscape within the next three decades if the problem plants are not brought under control.

40

WELLBEING & LIVING

Journal.01

Classified as weeds, wilding pines are the plants which pose the biggest threat to New Zealand’s unique environment: as much a menace as stoats, rats and possums.

A handful of wilding pines can spread their seeds on the wind for miles. Self-seeding and not planted intentionally, wilding pines grow very densely – taking the sun, water and nutrients other plants need.

Unlike native New Zealand bush, where a wide variety of species exist together, wilding pines produce forests which largely support only other wilding pines, forcing out native plants and animals. They also increase the intensity and hazard of wildfires and reduce available ground water.

Renowned artist Sir Grahame Sydney knows the threat the plants pose all too well. Famed for his wide-open landscape compositions, Sir Grahame has seen first-hand the devastating affect wilding pines have had on large stretches of Central Otago. “They are nothing but a menace. They are a cancer on the landscape,” he says. “The Central Otago landscape is particularly distinctive, but there are all sorts of distinctive landscapes throughout New Zealand. And all of them are threatened by wilding pines.”

Wilding pines are a problem in almost every region, from Northland to Southland. Some of New Zealand’s most iconic landscapes, such as Central Otago, Mt Tongariro, the Coromandel coastline, MacKenzie Basin, and the dunes of Northland are all under threat.

“I’ve lived here for 24 years, and I have watched the landscape completely change,” continues Sir Grahame.

“The threat to our natural landscape is huge – this is, after all, the foundation of our tourism industry. On the whole, people don’t flock to New Zealand for the culture or the architecture or a lovely sense of civilization that is hundreds of years deep, because we just don’t have that. They come here to look at our country and enjoy

how different it is to where they’ve come from.

But the wilding pine cancer is a blanket across that distinction.” In 2014 it was estimated wilding pines were spreading by more than five percent – around 90,000 hectares – each year. If left unchecked, the trees would cover 20% of New Zealand by 2030.

This could have an economic cost of $4.6 billion, due to the negative impact of wilding pines on primary production, biodiversity, hydroelectrical power generation and irrigation.

Thankfully, there has been an active response to the issue in recent years.

The New Zealand Wilding Conifer Management Strategy 2015-2030 was developed in response to the threat, and the National Wilding Conifer Control Programme was established in 2016 to deliver on the goals of the strategy.

The management strategy aims to prevent the spread of wilding pines and eradicate established areas by 2030. It balances the good and bad of conifers – minimising the negative impacts of wilding conifers, while keeping beneficial conifer plantings.

The strategy was developed by Biosecurity New Zealand (part of the Ministry for Primary Industries) and a working group with a range of perspectives. This work was done in association with the National Wilding Conifer Management Group (now the Wilding Pine Network).

But the strategy also highlights that wilding pine management is a complex and long-term undertaking.

“It obliterates anything which is ours and it changes the way everything looks here, separate and different to the way it looks everywhere in the world,” Sir Grahame concludes.

“And if you want that homogeneity, if you want that sameness, then go for it, don’t do anything. But if you want to preserve it, you better do it now.”

Product Showcase

Apple iPad Pro apple.com/nz/store The new Apple iPad Pro takes the crown as the thinnest Apple product ever. The 11-inch model is an impressive 5.3mm thin and the 13-inch version even thinner. Despite the dimensions, Apple has given the iPad Pro more of everything. The Ultra Retina XDR display uses two OLED panels to provide for incredible screen capability, while the new M4 chip delivers a huge leap in operational performance too. And because it has ‘Pro’ in the name, naturally the updated camera system also delivers professional levels of versatility. Rich audio from four studio-quality mics means shooting footage and sharing it with friends and family from this compact sliver of brilliance is a breeze.

42

P R O D U C T S H O W CA S E

Journal.01

Audi e-Tron Electric Bike audi.co.nz The Audi e-tron electric mountain bike is by far the easiest way into the German brand’s esteemed e-tron electric vehicle range. With its sizeable 720-Watt Hour battery, it’ll go the distance on a single charge – up to 150km according to the manufacturer. It also features plenty of hard-wearing componentry, such as Öhlins front and rear suspension with 180mm of travel, Italian made IN.CA.S hydraulic brakes, and a handy info screen on the handlebars. It looks the part too, with a livery inspired by the Dakar Rally-winning Audi RS Q e-tron.

Fujifilm X-T50 fujifilm-x.com The latest model in Fujifilm’s acclaimed X series delivers outstanding image quality with unique colour reproduction technology in a compact, lightweight body. Weighing approximately 438g, the Fujifilm X-T50’s fifth-generation X-Trans CMOS 5 HR sensor, and its X-Processor 5 imaging engine all combine to deliver the highest image quality yet for the X Series in a small, light body. Also, for the first time since it was introduced 20 years ago, Fujifilm’s Film Simulation dial is incorporated on the top plate allowing the user to easily switch between the ‘look’ they desire, a key feature unique to the company that enables a wide variety of colour tones.

There are 20 Film Simulation modes to choose from.

Samsung Music Frame samsung.com/nz

Twelvesouth Butterfly Charger twelvesouth.com iPhone and Apple Watch users on the move take note: techy toys company Twelve South has just released the ButterFly, $239.99, which is the world’s smallest 2-in-1 USB-C MagSafe charger. It’s similar in size to an AirPods Pro case, so takes up very little room in the travel pack and is manufactured with a durable aluminium shell. Unfold it and the ButterFly also morphs into a display stand that supports StandBy mode on the iPhone or Nightstand mode on your Apple Watch. Perfect for any hotel bedside table, and without miles of cables taking up precious room in your weekend bag.

Journal.01

Samsung’s Frame TV is a truly impressive piece of tech, blending high-definition viewing when needed with amazing textured imagery that looks every bit the arty addition to your home’s décor when it’s ‘off’. Now, Samsung has added to the Frame family with the Music Frame Bluetooth speaker. A removable cover allows you to display whichever photo or piece of art you like, but behind the eye-catching curated cover are nestled powerful 3-way speakers which disperse sound evenly throughout a wide area. This way, you experience the same audio quality wherever you are in the field of sound. You can stream music on your mobile device to the Samsung Music Frame and, if you have both the Frame TV and Music Frame gracing your wall, Samsung Q-Symphony technology enables your TV and Music Frame to play together in fantastic surround sound.

P R O D U C T S H O W CA S E

43

Matcha & Honey Ombre Hydro Flasks hydroflask.com Hydro Flask has released limited edition Matcha & Honey Ombre flasks constructed using durable sweat-free powder coated exteriors. The release consists of three product sizes: the 32 oz (946ml) and 40 oz (1.18-litre) Travel Tumbler and 24 oz (709ml) Wide Mouth with Flex Straw Cap. The Travel Tumbler features a comfortable and durable handle for added convenience, with the large size still fitting in most cup holders. Hydo Flask TempShield double-wall insulation ensures heat insulation, and the flexible straw is easy to sip from. The tumbler has a snug, secure, splash-resistant straw, and a strong ergonomic handle that fits most cupholders. If a traditional drink bottle is more your thing, the 24 oz wide mouth Hydro Flask with flex straw features a leakproof Flex Straw cap that makes it easy to fill and drink from.

Rolex Oyster Perpetual GMT-Master partridgejewellers.com Designed as a navigation aid for professionals criss-crossing the globe, over time the GMT-Master became the watch of choice for travellers. It has a unique and instantly recognisable design with a bidirectional rotatable bezel and a 24-hour graduated insert, which has been made available in various dual-colour combinations – the lower half symbolising daytime hours and the upper signalling nighttime hours – as well as in single-colour versions. The GMT-Master, a true ‘tool watch’, evolved continually to offer increasing technical performance. With traditional hour, minute and seconds hands, a triangle-tipped 24-hour hand, and a bidirectional rotatable bezel with a 24-hour graduated Cerachrom insert, the GMT-Master II can display the time in two time zones simultaneously: either the local time and a reference time, or the local time and that of an alternative time zone.

Aēsop Eleos Aromatique Hand Balm aesop.com Taking its name from the Ancient Greek personification of mercy and compassion, Eleos Aromatique Hand Balm contains a nurturing combination of hydrating humectants, alongside emollient butters and oils. The new balm provides exceptional replenishment for weather-weary or dry skin, yet is rapidly absorbed with a soft, matte finish. Available in a 500mL recycled PET bottle with pump, or a 75mL wisteriapurple recycled aluminium tube, Eleos Aromatique Hand Balm provides high saturation—in both hydration and hue. This latest addition joins Reverence and Resurrection Aromatique Hand Balms, along with their complementary hand washes, building on Aesop’s legacy of bringing a touch of poetry and pleasure to everyday actions.

44

P R O D U C T S H O W CA S E

Journal.01

Logitech Keys-To-Go 2 logitech.com An ultra-portable wireless keyboard designed for tablets, mobile devices and laptops, Logitech Keys-To-Go 2 features a built-in cover to protect it from damage or spills, while its slim, lightweight design makes it ideal for travelling. Tailored for mobile computing, Keys-To-Go 2 is available in two layouts: Universal (Android, ChromeOS, Windows, iPadOS, iOS and MacOS) and a dedicated Apple layout (iPadOS, iOS and macOS). Typing is easier, faster and more precise than typing on a screen, thanks to perfectly spaced 18mm ‘scissor’ keys. The Logitech Keys-ToGo 2 is available in Lilac and Graphite and can easily connect via Bluetooth with up to three devices via in-built Easy-Switch keys.

R.M. Williams Womenswear rmwilliams.com.au Addressing growing demand from female customers looking to build their timeless wardrobe, a new line of core styles for women will set the foundation of a feminine R.M. Williams look this winter. The range includes quality cotton staples, comforting fleece layers and versatile denim jeans. The lineup of quality accessories has been extended too. The R.M. Williams Ranger bag collection – now featuring a smaller crossbody silhouette – serves as an elegant finishing touch on every look, with a refined leather construction that balances classic appeal with everyday durability.

Van Cleef & Arpels Frivole Collection Dyson Supersonic Nural Intelligent Hair Dryer

vancleefarpels.com/nz/en

dyson.co.nz Dyson adds its engineering smarts to better hair care with a stylish new hair dryer that actually adapts and adjusts to help protect scalp health and enhance natural shine. Designed to get the best from all types of hair, the Dyson Supersonic Nural features five intelligent attachments, including a twomode Wave+Curl diffuser. Dyson says the dryer will actually learn your styling preferences thanks to sensors in each attachment. The Scalp Protect Mode uses a network of Nural sensors which automatically reduce heat and airflow as it nears your head. And if you pause, so does the dryer, meaning there’s no heat damage.

Journal.01

Every year Van Cleef & Arpels pays a poetic tribute to the changing of the seasons. In 2024, five radiant pieces have joined the Frivole jewellery collection, including a white gold 7 flowers bracelet, a Between the Finger ring in rose gold, and an 8 flowers ring that presents a dialogue between rose and white gold. This year, the Frivole collection reveals a new aesthetic of rose gold interspersed with diamonds. Over the decades, clips, earrings, rings, bracelets and pendants have illustrated Van Cleef & Arpels’ technical innovations and stylistic evolutions. This wealth of jewellery interpretations gave rise to heart-shaped petals, introduced in the 1940s on cigarette cases and pill boxes. With their polished gold or diamond-paved corollas, the Frivole creations have been part of this creative tradition of beauty and harmony since 2003.

P R O D U C T S H O W CA S E

45

Books

The Antique Hunter’s Guide to Murder

The Antipodean Express – A journey by train from New Zealand to Spain

C.L. Miller

Gregory Hill MacMillan Publishers | $37.99 Author C.L. Miller certainly knows her stuff. The world of antiques, that is, rather than murder. She started a career in publishing as an editorial assistant for her mother, Judith Miller, on the famous Miller’s Antique Price Guide, as well as a researcher for the Antique Hunter’s Guide to Europe. It’s fair to say she has lived and breathed the topic and has, in the past, been fully immersed in the world with all its eccentricities.

Exisle Publishing | $44.99 Inspired by the memory of an old school atlas which explained the idea of the antipodes (helpfully illustrated by New Zealand superimposed on an upside-down Spain), and emboldened by the technical wonder of Google Earth, Gregory Hill figured out that the antipodes of his Wellington living room are an anonymous wheatfield in the Castilla y León region.

And here that world provides a delightful spin on the tried and tested murder mystery plotline.

A whimsical discovery made even more adventurous by his decision to go there. And to go there (where possible) by train.

The book introduces us to Freya Lockwood, an antiques expert who receives shocking news her mentor, antiques dealer Arthur Crockleford, has expired in what might be suspicious circumstances. But the mystery deepens when a letter from Arthur arrives, sent just days before his death. Accompanying it is an old chest with his journals inside, and secrets buried therein.

Hill, who spent 30 years as a principal player with the New Zealand Symphony Orchestra, sets out with wife Anne Loeser on what would amount to an epic 89-day trek through 19 countries aboard 33 trains. Thirty-eight thousand kilometres in all, with over 30,000 of those kilometres travelled by train.

Hill’s narrative is warm and vivid and the book features plenty of maps and photographs from the duo’s journey, which really does leave the reader longing for a mysterious and romantic train trip of one’s own. Even the Northern Explorer will do.

With plenty of colourful characters and a storyline that moves along at pace, this will prove a brisk and engaging read for anyone who enjoyed The Thursday Murder Club fiction of Richard Osman. A fun first time out for C.L. Miller.

46

REVIEWS

Journal.01

Podcasts Keen on podcasts? Never given one a go?

Here are a couple of recommendations for some worthwhile audio entertainment available to download for free.

Black Sheep Radio New Zealand Always fun in (often) the darkest of ways, this illuminating podcast exploring the shadier moments and characters in New Zealand’s history is now in its eighth series. Presented by William Ray – himself a great storyteller – the award-winning Black Sheep brings to life sometimes downright villainous activities and deeds of New Zealanders you might never have heard of, but who will stay with you long after a listen.

The Near West – A history of Grey Lynn, Arch Hill and Westmere Tania Mace Massey University Press | $70.00 Having lived in Grey Lynn for over 30 years, author and historian Tania Mace is well-positioned to bring to life all the social and geographical changes that have occurred in the Auckland suburb (and its surrounds). As a result, The Near West is a fascinating and often intimate read, even if you don’t reside – or have never – in the colourful neighbourhoods at its centre.

As Mace discovers, despite the obvious gentrification that has occurred in recent years, there remain plenty of constants throughout the neighbourhood’s shared histories. Thanks in large part to swathes of the original Victorian and early 20th Century housing stock remaining unmolested on streets with familiar names, exploring the formation and rich history of the area with an overlay of the modern suburbs they have become is both possible and enjoyable.

Desert Island Discs BBC An absolute institution, most will be familiar with this long running radio show and its format (eight tracks, a book and a luxury item: what would you take to a desert island?). But did you know every episode is available in podcast form? With nearly 2500 episodes available, it’s incredible to hear who has been asked those prescient questions, and the humour, wistfulness and revelations they stir to the surface. From Jilly Cooper to Dame Judi Dench, Steven Spielberg to Keith Richards and several thousand points in between, the Desert Island Discs back catalogue – and latest series – will provide hours of entertainment.

Split into themes such as industry, education, sport, religion and the arts, the book must also be merited for its superb collection of photographs, area maps and even beautifully reprinted house plans for the original villas that are, for the most part, all now well past their hundredth year. Exhaustively researched, The Near West feels like the benchmark history text on the area and is well worth exploring.

Journal.01

REVIEWS

47

123 Fendalton Road, Fendalton, Christchurch www.hollylea.co.nz

210 Maranui Street, Mt Maunganui www.pacificcoastvillage.co.nz

242 Grenada Street, Mt Maunganui www.pacificlakes.co.nz

539 Mount Albert Road, Three Kings, Auckland www.ranfurlyvillage.co.nz

541 Parnell Road, Parnell, Auckland www.thefoundationvillage.co.nz

73 Roydvale Avenue, Burnside, Christchurch www.russleyvillage.co.nz

generus.co.nz