Moscot eyewear has been a Lower East Side institution in New York since 1915, when Hyman Moscot upgraded his pushcart packed with ready-made spectacles to a store. Today his great-great-grandson Zack Moscot is continuing the tradition of creating spectacles with style, supplying the likes of Leonardo DiCaprio, Demi Moore, Johnny Depp and Chris Hemsworth, along with customers at Parker & Co in Newmarket.
We asked Zack to tap into generations of knowledge and guide us through the stressful process of selecting a style of spectacle that you can live with day in, day out.
What do people need to take into consideration before selecting frames? Today, we see that picking a pair of glasses is very much a fashion decision and whether or not he or she wants their frame to “scream” and make a statement, or “whisper” and disappear on the face. Then one can focus on which shape they find complementary. Finally, there is the technical element of the lenses and the prescription which may be a factor as to which type of frame material or design one should consider for an optimal fit. At Moscot we offer multiple sizes in each frame style, which is something our fans really appreciate as we know one size does not fit all.
What is the most universally loved style and why? The Lemtosh. This style is timeless and represents the perfect balance of both round and square – a shape that complements all face types. The Lemtosh stands the test of time with its iconic design and continues to uphold a legacy of its own. This rounder classic has served as the calling card for generations of creative, thoughtful, free-spirited intellectuals, artistes and auteurs.
Chris Hemsworth wearing the ‘Lemtosh’
What style should people with round faces never wear? Sometimes certain frame shapes can complement or offset the shape of one’s face, for example, if your face is rounder you may want to balance it out with a more square frame shape. However, in New York City we often see many individuals just want a certain aesthetic and desire a specific frame shape – we never want to steer someone away from expressing their own sense of style.
What is the key to a proper fit? It is important to find a style that sits comfortably on your nose and that fits the width of your face. It is ideal when your eyes are fairly centred in the lens for a proper optical fit.
When it comes to lenses, what do people need to pay attention to? Trust your local optician when it comes to assessing your lens needs. In today’s world, you should take advantage of the amazing lens technology that is available. Progressives (bifocals) are much easier to adapt into than they used to be and are a convenient lens offering for one’s daily needs. I would also ask your optician about lens add-ons, such as blue-protect coatings for your digital screens as well as photochromatic features, which allow your lenses to change from optical to sunglass when you walk outside.
How important are the Moscot archives in developing your range? The archives are critical. Our Moscot Original frames are based and inspired solely on our archives and our Lower East Side DNA. When designing frames I am constantly looking into our history: not only the style of frames but even the fashion and the culture of the time. Third generation, Joel Moscot, is still alive and well and so I even give my grandfather a call from time to time to discuss frame styles from the seventies and eighties for example. As always, I consult with my father, fifth generation – Dr. Harvey Moscot, on fit, sizing and lens offerings since he is the optical expert and I’m lucky enough to work with him every day.
Like all industries the fashion world has been thrown a serious curve ball by Covid-19 but Gucci artistic director Alessandro Michele, as always, is far ahead of the curve, creating a new campaign that eloquently speaks to the challenges of our times while offering enticing images of a beautiful future.
With social distancing restrictions in place around the world, Michele enlisted a troupe of favoured models to stretch their creative muscles by acting as stylists and photographers for the highly individual autumn/winter 2020 campaign.
“I decided, in fact, to let the clothes travel towards the houses of the cast of models that usually bring my campaigns to life,” Michele says. “I imagined that the magic and the dream they are made of, may break through the world and be observed while coming alive, while seizing new spaces and taking root inside new existences.”
The result, called The Ritual, is an exciting and slightly voyeuristic glimpse into the minds and homes of emerging models, with photographer Florian Alexander on the roof of a van and Mae Leperes holding her pet bird in a cluttered Parisian apartment.
“The result was extraordinary for me,” Michele says. “In this game of mirrors, that reverses the roles and redefines the functions, every shot breathes as a fresco. Every gaze, every corner of every house, every gesture resonates with a beauty that stands out of the ordinary, though living in an ultra ordinary world. There’s adherence to life, in its more unexpected emotional shades.”
This theme of breaking down the creative barriers and overthrowing traditional roles was already emerging in Gucci’s critically acclaimed runway show held in Milan in February. At that event, held weeks before the shutdown, guests entered through the backstage area, seeing the organised chaos that takes place behind the scenes before composed looks emerge on the runway.
“The story I began to tell throughout the last show, continues. On that occasion, I played at reversing perspective, unveiling what lies behind the curtains, making the heartbeats visible, as well as the gestures and the minute mechanisms that shape a ritual. Now, the same idea of looking at things from a different point of view stimulates the possibility of a further displacement.”
It’s a touch of Gucci magic, along with some platform heels, retro horsebit handbags and that blue frill-fronted blouse, that we all need now.
CREDITS Gucci FW 2020-2021 collection Creative Director: Alessandro Michele Art Director: Christopher Simmonds
This year we are taking a hiatus from Denizen’s eagerly-anticipated annual celebration of Heroes. We look forward to paying proper tribute to influential New Zealanders when the battle against Covid-19 is over. In the meantime we look back at the inspiring stories of the trailblazers we have honoured in the past and continue to proudly call Heroes. Meet hero Nicholas Loosley.
Nick Loosley is the founder of Everybody Eats, a pop-up dining initiative established in response to New Zealand’s issues with food poverty and food waste. Nick completed his master’s degree in Green Economics at Schumacher University in England and as part of his studies, undertook action research at Jamie Oliver’s Ministry of Food and The Real Junk Food Project. Becoming educated in the issue of food waste as well as witnessing various ‘pay-as-you-feel’ restaurants servicing the community using food directed for landfill, he endeavoured to bring the concept here and has done so incredibly successfully. The Everybody Eats pop-up takes place every Monday at St Kevins Arcade in Auckland City and is run by a constant rotation of volunteer staff who turn food that has been ‘rescued’ from supermarkets and establishments around Auckland into impressive three-course meals. Everybody is welcome and attendees can pay whatever they can for the food — even if that’s nothing.
The act of sharing a meal is a time-honoured and sacred custom, designed to bring people together. From The Last Supper to the Sunday roast, there is something deeply primal about connecting with someone over good food and it is this school of thought that drives Nick Loosley in his quest to put meals in front of those who often go without. “Needing to eat” he explains, quoting a pertinent journalistic piece on the importance of cooking, “makes us animals; the way we satisfy that need, makes us human.” In searching for solutions to society’s issues around waste and poverty, Loosley is seeking to facilitate human connection in the hope that it will lead to greater social change. The popularity of his recent venture, a non-profit dining concept, Everybody Eats, is proving that this could be just what we need.
While completing his Masters in Green Economics at Schumacher University in England, Loosley noticed the positive effects of the University’s ritual of stopping three times a day for students and teachers to share a meal. It was a phenomenon that spurred him to write his dissertation on the crucial importance of cooking together — a practice that has been in steady decline in the Western world thanks to our throw-away attitudes built on excess and impatience. Undertaking action research at supper clubs, community dinners, cooking schools (like Jamie Oliver’s Ministry of Food), and places serving food that would otherwise be thrown away, Loosley was struck by the massive amounts of waste being cycled through the system. It was this realisation that became his main focus.
Launching his social enterprise in June last year, the huge impact Everybody Eats has already had belies the short amount of time it has been operating. In New Zealand, the dichotomy between the amount of food we throw away and the number of people going hungry every day is a shocking one. Around one third of our produce ends up as landfill fodder contributing to global warming, while many New Zealanders live below the poverty line, where the idea of nutrition is relegated to an afterthought. Articulating the problem as “one of the worst food poverty issues in the developed world”, Loosley has established Everybody Eats as this country’s first pay-as-you-feel system. A model that has been used widely (and successfully) in the UK, it works on the premise that anyone can enjoy a hearty meal and pay whatever they can for it — even if that’s nothing.
With a mission to feed ‘bellies not bins’ (as the tagline reads) in the “most inclusive way possible”, Loosley started the Everybody Eats pop-up restaurant at Gemmayze Street in St Kevin’s Arcade on Karangahape Road. Powered by volunteer waitstaff and a number of prolific Auckland chefs including Ben Bayly (formerly of The Grove) and Samir Allen (of Gemmayze Street) lending their time and skills to the cause, the concept now feeds around 250 people every Monday, with an accessible, nutritious dinner made using leftover food sourced from Kiwi Harvest and New World Eastridge. Loosley outlines the ratio of those in need of a meal to those who can afford to contribute as 75 percent to 25 percent, with his first challenge being whether or not the concept could sustain itself financially. Citing the average koha as around $15, the pop-up is left with about $600-$800 each night. A portion of this, Loosley chooses to donate back to Gemmayze St for the use of their space, while $100 is used for the additional ingredients needed to serve complete meals, and the rest put towards buying key pieces of equipment. Initially intended as a three-month project, Everybody Eats’ popularity has seen it operating for much longer — and it’s due to more than just the nourishing fare.
Seeing Loosley in his element on a bustling Monday night is to watch someone deeply passionate about the work they do and it’s a feeling that seems to permeate everyone present. When asked why they come to Everybody Eats, many diners comment on how good the food is, but more than that, they comment on the people, the service and Nick himself. A regular volunteer, Vernon Sorenson, emphasises what an honour it is to be part of Loosley’s vision. “He’s no teka” he says, explaining “teka in Māori means ‘bullshit’”. Contemplative and consistently well-spoken, Loosley doesn’t seem the type to often let his guard down, but when one attendee grabs his hand to tell him how much the pop-up has helped him, and how he so appreciates what Loosley does, it offers an unfiltered moment. Receiving his accolade with humble mutterings, the warm handshakes, affable smiles and sense of kinship between the two men is a poignant example of the “magic” that Loosley credits for making Everybody Eats so unique and so important.
For Loosley, Everybody Eats goes beyond feeding those in need, to posit food as the great democratiser. He’s seen people who have lived on the streets for decades, sitting barefoot, opposite affluent lawyers and prominent business people, engaging in in stimulating conversation over a warm meal. And while there is a definite need for the free food, many of the Gemmayze Street pop-up regulars keep coming back because they are treated like humans — with respect and warmth. Loosley is facilitating a moment in time where two people from entirely different circumstances, upbringings and beliefs can meet as equals; where the lawyer and the homeless man are peers — and when he talks about his journey, it is this idea that causes him to make his case with such fervour. “Food” he outlines “is the most powerful tool we have for bringing people together” and he’s right. It taps into something fundamental about what makes us human and it’s an issue that we can all connect to — not just those who have studied the problems around it.
Ensuring his sights remain set on the big picture, Loosley is now looking to the future. Seeking to meet the huge demand his idea has garnered, he has launched a crowdfunding campaign through PledgeMe, with the goal of establishing permanent, pay-as-you-feel restaurants across the country. Revealing that he has already had interest from parties in Christchurch, Wellington, Hawke’s Bay and Palmerston North, Loosley’s aim of creating a “national movement” is more than just a pipe dream. Needing to raise around $120,000 (at time of writing he has raised $87,000) the campaign will be running until early June and the money will be used to set up permanent premises, purchase the equipment needed, and pay a few, necessary full-time staff. It is a move that could usher in a new era of social awareness.
Without inciting significant change in societal attitudes towards food waste, the environment and the homeless, Everybody Eats would be merely patching over the deeper issues at play. But by looking to do more than simply offer free food, Loosley is pushing for open mindedness, shining a light on what’s going on in our own backyards and encouraging equality through the small ritual of breaking bread. When all is said and done, everybody has to eat — it’s just better when we do it together.
Five years ago today, we launched our first Denizen Heroes Gala. Designed as a celebration that honoured the efforts of outstanding individuals who are dedicated to enhancing the lives of others, the Heroes event has gone on to become the most anticipated social event of the year.
With the current circumstances preventing this year’s event, the next best thing is take a walk down memory lane and remind ourselves of the fantastic nights that have gone before.
It’s our hope that in 2021, we can reignite the night and celebrate the very best of our country with a renewed Denizen Heroes Gala, that’s more enticing than ever.
To view the photo galleries from each year go here:
“Ultimately, my job is to make people, when they’re wearing my clothes, feel put together and confident and feel like they can achieve anything,” Emilia Wickstead tells me. The designer is explaining the mandate that drives her eponymous fashion label, and it’s giving me a distinct sense of her democratic nature. Worn by the likes of Michelle Obama, Amal Clooney, Alexa Chung, Celine Dion, Amy Adams, Kate Middleton and our very own Prime Minister, and a regular fixture on almost every red carpet of note, Emilia Wickstead is a label carrying some serious clout. But for its New Zealand-born designer, the reward comes from a more grounded place. “You put your heart and soul into dressing someone for the red carpet, so it is amazing,” she says, “but when you see someone on the street wearing your dress or your blouse… and women of all ages, shapes and sizes, you also feel incredibly proud of that too. There’s really not one type of woman I dress — that’s what I’m most proud of.” Acknowledging that Wickstead’s designs transcend one type of woman is one way to underpin her appeal. But for me, broadening that statement feels more accurate: her clothes are universal.
Born in New Zealand, and still, as she tells me, strongly connected to her Kiwi roots (despite basing her business in London), Wickstead’s passion for creating garments really started, as these things often do, with her mum. “My mum was a seamstress,” she explains, “so being a small girl in her workshop and watching her make clothes was definitely a source of early inspiration.” Also articulating how a passion for art was passed down to her from her father — something Wickstead still carries with her to this day — creativity it seems, was ingrained in her DNA.
But it was moving to Milan at age 14, a place Wickstead says was, “not only a central hub for art but also for fashion design,” that set the young creative on a tangible path within the industry in which she’s now a leader. “It was a place that stimulated my imagination,” she tells me, which is hardly surprising considering the close proximity she would have had to some of the most iconic fashion houses in the world. A Central Saint Martins alumni, Wickstead also credits the practical experience she was afforded through her degree as being vital in formulating a vision for where she wanted to sit in the larger context of the industry.
After stints working for the likes of Proenza Schouler and American Vogue, she settled in London at age 24, establishing an atelier in her name and committing, as she continues to do, to creating clothes for the modern woman. “I started my business so young,” Wickstead tells me, laughing, “so at the start, I really had no idea what I was doing.” It’s difficult to look back and imagine Wickstead as a struggling, twenty-something from the context of her enormous success now. But as she tells me, with refreshing honesty, “it took probably about nine years to really feel in a good place.”
To simply call Wickstead’s collections ‘good,’ however, would be to do them a grave disservice. With an aesthetic grounded in her ability to deftly meld hyper-femininity with a unique combination of whimsy and strength, Wickstead’s pieces hold court in the modern context, while possessing an indescribable edge that renders them entirely timeless.
“Fashion,” she tells me, “offers an opportunity to revive history, to revive its stories in a new and exciting way.” Citing Christian Dior and Diana Vreeland as two of her idols, Wickstead draws inspiration from a vast and varied wellspring of creative sources including architecture, photography and film, explaining, “I often go to the library to watch old salon shows.” She seems to revel in a kind of old-world aesthetic, which comes through in her refined silhouettes and flattering fabrics. “What I love about that aesthetic,” she tells me, “is the sense of preciousness that you feel for everything within it — the reverence for craftsmanship and the time that was poured into its creation.”
Everything Wickstead touches carries this sense of craftsmanship, via her perceptive, intelligent approach and artisanal delivery. For Pre-Fall 19, for instance, the designer returned to her roots and used the floral backdrop of Auckland’s Winter Gardens to frame pieces that were both inherently wearable and executed with a romantic, couture-like discipline. For Fall 19, she was inspired by Mary Corleone of The Godfather trilogy and created a collection that balanced more masculine motifs (oversized coats, herringbone checks) with a nipped waist here or a décolletage-baring neckline there. It was described as ‘a wardrobe for life,’ which to me, captures the essence of how the designer wishes to see her work realised — in a more holistic and less piece-by-piece way.
“If you’re passionate about fashion,” Wickstead says, “then it’s about putting a look together and thinking… how do I describe it…” she trails off. “Finished?” I suggest. “Exactly,” she replies. “When people dress up, when their outfit feels finished, you can see the confidence in them because of the way those clothes make them feel.”
Hers is an attitude of curating clothing that will last a lifetime, as well as embracing a kind of understated luxury that, being from New Zealand, is surely something that was embedded in her psyche long ago. It is an interesting phenomenon that Kiwis seem to be able, no matter how brightly their star shines on the world stage, to maintain a level of modesty that’s based on an ethos of treating everyone on an equal footing. Wickstead has this in spades. “My childhood in New Zealand very much informed my attitude and approach towards work and entrepreneurship,” she says, underlining how that inherent Kiwi propensity to “roll up our sleeves, work hard and give things a go,” never left her, regardless of having lived most of her adult life overseas. It’s served her well. “Being from New Zealand has given me a great sense of perspective,” she says, “and it’s stood me in good stead when it comes to running a business.”
Left: Emilia Wickstead with celebrity stylist Elizabeth Saltzman and Lauren Santo Domingo | Right: Gwyneth Paltrow in Emilia Wickstead
As an homage to her country of origin, Wickstead recently created a capsule collection for Woolmark (the global authority on Merino wool which, every year, bestows an AU$200,000 prize on an up-and-coming fashion designer), for which she drew heavily on her New Zealand identity. Describing it as “an absolute passion project,” Wickstead articulated that her vision going into the collection was to “share something of our country with the world.” As such, she decided to photograph the pieces on a line-up of impressive Kiwi women, including the first female Judge to be appointed to the High Court, Dame Silvia Cartwright, the decorated shot putter Dame Valerie Adams, the first Māori woman in New Zealand to gain a doctorate, Ngahuia Te Awekotuku and the first female president of New Zealand Federated Farmers, Katie Milne.
It felt like a love letter from Wickstead to the kind of women she admired growing up, strong women like her mum, who inspired her to go forth and join the ranks as a New Zealander making a significant mark on the world. This collection aptly named ‘Ordinary Yet Extraordinary Women’ also saw Wickstead team up with Smart Works, a British charity that helps women struggling with unemployment prepare for job interviews, a cause close to Wickstead’s heart. “Clothing can make you feel absolutely incredible, or not,” she says, “it gives you pride and is so important to the way you see yourself.” As such, a portion of the collection will be donated to Smart Works, marking yet another way that Wickstead is a woman, working for women.
For me, Wickstead embodies heroism in her unwavering drive, her commitment to creating collections for the people who wear them (as opposed to the prevailing and often fickle trends), and her ability to remain grounded in the face of extraordinary success. Having attracted various private and venture level funding in the past, her label (still independently owned) has gone from strength to strength, and now viably competes with the kinds of brands she would have grown up idolising in Milan. There is no doubt she’s being closely watched by fashion’s major conglomerates (including the likes of LVMH and Kering) as a potential, future acquisition, following in the footsteps of other independent fashion success stories such as Alexander McQueen, Stella McCartney and Marc Jacobs.
But despite her entrepreneurial accomplishments and the fact that her brand has become an undisputed go-to for those in the spotlight, Wickstead is a designer for whom an unerring work ethic and attitude of perseverance (both attributes that she credits to her Kiwi upbringing), will ensure that complacency is never on the cards. “I think the best advice I could give,” Wickstead tells me, “is to just keep going. It will only happen when you’re 100 per cent committed to your message and your vision.” Asked to describe The Emilia Wickstead Woman, the designer gave this summary: “she’s multi-dimensional, modern, confident, assertive and driven” — as much a description of Wickstead herself as it is of the women she dresses.
It’s time to reclaim that TGIF feeling by planning a weekend packed with activities to remind you of the fun you can have outside the house. We have rounded up a range of activities to make children forget about cabin fever and some adult indulgences that signal a successful Saturday and Sunday. Here are our weekend wonders.
Hobsonville Point The easiest place to sip and exercise physical distancing is the Little Creatures Brewery, just a 20 minute drive from Auckland at Hobsonville Point. The 1500 square metre converted aircraft hangar opened last year after a $20 million investment from the owners, offering a selection of the popular hoppy beers that originated in Perth, Australia. Head brewer Udo van Deventer is producing around 60 50-litre kegs a week of the Catalina Bay Lager, so don’t expect to go thirsty. There’s also a hearty winter menu packed with pizzas, burgers and beef cheek sliders to allow you to settle in. If you’re after a slightly more refined experience, start your day at Fabric with a Coconut and Vanilla Chia Pudding or finish it with Venison Loin in a Pedro Ximinez jus because at any time the riverside setting is simply spectacular. Let your worries wash away as you soak in the natural beauty. The indoors aren’t bad either with Wills Bond & Co, along with Chesire architects, having tastefully transformed the former RNZAF building in a soothing neutral palette with oak furnishings and a luxurious marble bar.
Snowplanet Touching down on Snowplanet in Silverdale will give you a taste of travelling further afield with their 8000 square metres of indoor snow activities. Whether you’re a first-time snowboarder in need of lessons or an experienced skier keen to fine tune your black diamond form, the Terrain Park will be your domain to master. The Winter Wonderland has also reopened for children with additional health measures in place so that pint-sized visitors can safely explore the family-friendly alpine village or even try tobogganing.
The Grounds Taking the family to a cool eatery is usually fraught with the risk of upsetting fellow diners with the vociferous demands of little ones in need of a Peppa Pig fix. On the flip side many kid-friendly places sacrifice adult aesthetics for wipe-down convenience. Fortunately, top chefs Ben Bayly (who might seem familiar from his MKR days) and Mike “The Russian” Tartura have found the perfect balance at Henderson drawcard The Grounds. The menu runs the gamut of grown up tastes (think roasted Te Mana lamb rump with charred cauliflower) as well as simple offerings for small ones (hot dogs or dumplings) and there’s a hi-tech playground and plenty of room to keep them occupied until the arrival of dessert has them acting like angels.
Saint Alice at Viaduct Harbour Conceived by the team who opened next-door’s wildly popular bar and brewery, Dr Rudi’s Rooftop Brew Co. (Callum O’Brien, Kristian Lloydd and Andrew Roborgh) Saint Alice continues to cross the boundaries between laid-back eatery, brasserie and bar. Visit to check out the recent update to the fresh fit-out along with a new menu, packed with wood fired pizzas, fried chicken and sharing platters worth enjoying along with a cocktail as you take in the spectacular view.
Holey Moley at Viaduct Harbour A healthy dose of mini-golf nostalgia, given a contemporary update with cocktails and an Instagram-friendly neon fit-out, will revitalise your social media profile beyond home workouts and filtered shots of you on the sofa in sweatpants. To introduce their social distancing friendly approach, Holey Moley has launched a Sip & Swing 90-minute session, which includes unlimited mini-golf and a selection of food and drink for $50. If everyone stops worrying about the score, you know you’re having a good time.
Yum cha at Grand Harbour One of the first yum cha restaurants to open in Auckland, Grand Harbour has been drawing everyone from the faintly hungover to happy families to Viaduct Harbour for 20 years. If you’re feeling brave enjoy the world class oysters with salted egg sauce or delight in the simpler wonders of the buttery egg tarts. Side note: it’s also one style of brunch where it’s 100 per cent acceptable to order from the alcohol menu.
Jo Bros Burgers at French Bay JoBrosBurgers call themselves a “classic, no-fuss burger joint,” but we believe that to be an understatement. From this 80s caravan chefs Josh Barlow and Brody Jenkins, who first met in the kitchen of fine dining institution The Grove, produce addictive burgers worth hitting the road for. All the ingredients are sustainably sourced from New Zealand, and the artisan buns are handmade with spray-free flour. JoBros offers two different beef patties — Taupo beef and wagyu — both of which are served with a slice of cheddar cheese and the creamy, rich JoBros Original sauce to create the ultimate finger-licking burger experience. Fri–Sat, 5pm–9pm, 7 Bernleigh Tce, West Harbour.
Sugar at the Chelsea Sugar Factory Located in Birkenhead’s Chelsea Sugar Factory, Sugar is a soft, welcoming space with a menu that combines savoury favourites with a number of sweet treats from dessert stars Fran Mazza and Aaron Carson (of Winona Forever, Major Tom et al.) The high tea offering is a highlight, comprising a tasty array of sweet and savoury finger food, served with a side of champagne. The nearby adventure playground should offer enough challenges to work off any sugar highs.
Waterview Reserve Skate Park and BMX track If any adrenalin junkies have been left climbing the walls of your home during lockdown, unleash them on the concrete dips and hills of this epic figure of eight track, complete with arrows to make sure that you’re heading in the right direction on the pump track style loop.
Everything gets that little bit harder in winter, including maintaining healthy hair. Along with runny, red noses, cracked skin and suspect circulation, limp and lifeless hair can be caused by overexposure to bitter winds and dry, damaging air. While reaching for a beanie or a bucket hat might seem the easiest option, there are some simple tips for keeping your locks looking healthy and adding some summer bounce, even when the sky is grey.
1. Don’t leave the house with wet hair You were probably warned as a child to not go out with wet hair because you might catch a cold, well what the harbingers of health forgot to warn you about was potential damage to your hair. When wet hair is exposed to freezing temperatures it is prone to breakage so make sure that you dry your hair before leaving the house. When using the hair dryer or any heat products use a heat protection product, such as Olaplex No. 7 Bonding Oil, which works on all hair types and will increase shine, softness and colour vibrancy while protecting your hair to up to 230℃.
2. Step up your conditioning routine Dry winter hair requires a more intense conditioning routine than in carefree summer months. Even indoor heating can take its toll, so look for a rich conditioner when the temperature drops. Moroccanoil Moisture Repair Conditioner helps restore shine to windswept styles and also can combat damage from overzealous colour treatments. Be consistent and start with a quality sulfate-free shampoo such as Moroccanoil Moisture Repair Shampoo, which cleanses hair without stripping away key moisture
3. Tackle split ends with regular trims The killer combination of cool temperatures outside and heated indoors can leave your strands split, which is where regular trims become your style saviour. Don’t fret too much if you’re trying to grow out last season’s lob. “If a customer is hesitant about losing length, I suggest applying MendingInfusion from mid to ends after styling,” Moroccanoil educator Katelyn Weible says.
Moroccanoil Weightless Hydrating Mask with deep conditioning argan oil, Moroccanoil Intense Hydrating Mask
4. Swap face masks for hair masks While conditioner is an important part of your hair care routine, winter is the time to go the distance by committing to regular hair masks. If they’re good enough for your face, quite frankly they are essential for keeping your crowning glory glowing. Fellow fine hair friends should try a lighter formula, such as the Moroccanoil Weightless Hydrating Mask with deep conditioning argan oil. Those blessed with medium to thick manes can enjoy the Moroccanoil Intense Hydrating Mask, improving texture and manageability. Just consider it an extra five minutes to stop you from having to wear a hat for the week.
5. Finally invest in that satin pillow You’ve seen what a cotton pillow can do to your face before gravity and moisturiser kicks in, so imagine what it’s doing to your hair. Satin pillows create less friction, resulting in less breakages during your nocturnal activities.
6. Give your hair a routine Your Pilates instructor does it for your back and your personal trainer does it for your biceps, so it’s only fitting that you create a routine for your hair during winter. Olaplex has constructed the 3-4-5 system that checks everything off the list, from rebuilding broken hair to keeping it hydrated. Kickstart your hair health with Olaplex No.3 Hair Perfector, leaving it on for 10 minutes before shampooing and conditioning (that’s Olaplex No.4 Bond Maintenance Shampoo and No.5 Bond Maintenance Shampoo – packed with strengthening Fermented Green Tea and nourishing Avocado Oil.
Moroccanoil products are available from selected salons and online stockists. For Olaplex products visit here.
Since 1987 the Mt Eden dining institution Cazador has been consistently surprising us with an inventive approach to preparing and serving game but following the lockdown they have well and truly pulled a rabbit out of their hat by launching the Cazador Delicatessen.
The Dominion Rd delicatessen’s slick European fit-out, complete with striking green subway tiles, rows of covetable condiments and a cool coffee machine, sits next door to the restaurant and offers prepared meals along with sandwiches, pies and pastries. Consider your next party platter sorted with a selection of Cazador’s famous bacon, parfait, salami, pastrami and babaganoush.
While the main restaurant is currently suitably spaced out for limited reservations, you can have your taste of Cazador Delicatessen from Monday to Saturday. They’re calling it the newest addition to an old restaurant, we consider it pivoting with perfection.
This year we are taking a hiatus from Denizen’s eagerly-anticipated annual celebration of Heroes. We look forward to paying proper tribute to influential New Zealanders when the battle against Covid-19 is over. In the meantime we look at back at the inspiring stories of the trailblazers we have honoured in the past and continue to proudly call Heroes. Meet hero Deborah Smith.
I’ve just hustled my way into the common room at Mercy Hospice. The clamour of young voices and a carpark brimming with SUVs playing dodgem makes it feel more like a primary school at 9am on a Monday morning, as opposed to the wary place of hushed palliative care I’ve come to know. It’s an extraordinarily sunny Sunday afternoon and the young voices belong to a group of 20 odd children, varying in age from five to 15. They are here to attend Cloud Workshop, a free art programme for young people dealing with the death of someone in their immediate family.
As name tags are written and applied, brown paper is taped over tables by volunteers, young and old greet each other as an excitable buzz ensues. At approximately 1.30pm, the workshop’s leading lady, Deborah Smith, calls everyone to gather around. Children take a seat on the floor in front of her, much like they would in a classroom, while various adult volunteers and parents instinctively form a protective band around them.
Standing next to Smith is a helper, six-year-old Tom, who assists in announcing the plans for today. “First, I would like to give a very warm welcome to you all,” Smith announces. Recognising all but one familiar face, shortly afterwards she asks, “Tom, would you like to remind everyone why we’re here today?” The young boy states promptly, as though out of mundanity, “We’re here because we have all lost someone close to us.” It is all that is said on the matter before Smith, with the help of artist John Reynolds, begins to explain what today’s task is — making masks — before diving in without further ado.
Cloud Workshop takes place once every six weeks. For hours at a time, children suffering a family bereavement can immerse themselves in creating contemporary art as an escape from the sadness of what is happening around them. Smith, both an established photographer and photography teacher who has achieved legendary status at schools like St Cuthberts College, explains what instigated the concept: “I wanted to help a friend whose partner had just died of melanoma. Her kids wouldn’t go to therapy, so I was searching for something for them to do.” No stranger to loss herself, Smith had to deal with her father’s death when she was only 18-years-old and he was 42. As the eldest of four children, she felt the weighty responsibility of needing to safeguard her younger siblings. She goes on to say about her friend’s children, “There was nothing… which, in a way, made me quite angry and upset. I was really shocked to find out that in the huge amount of time [that had passed between her father’s death and her friend’s partner’s death] it didn’t appear that there was anything new to support bereaved children. But in the meantime, there’d been a lot of research, even out of places like Harvard, about the vulnerability of bereaved children and how fragile they really are”.
To be clear, Cloud Workshop doesn’t purport itself as a form of therapy. Rather, it is a forum for creativity where young people are united in their circumstances. Every session, the children are given a project; painting pillowcases to keep bad dreams away; building models; creating Joseph Cornell-inspired 3D scenes, concertina books and dioramas from scratch; or in this case, crafting masks designed to make them laugh or to hide away. Usually, there is an underlying theme they may or may not draw upon concerning what they’re going through, but there is no expectation that the children need to talk about their ordeal.
“I try not to back anyone into a corner,” says Smith. Most often, there are cases of ‘accidental therapy’. One such example includes a moment during a bathroom break when Smith was standing outside waiting with a group of boys. Thinking about it, she innocently remarked how every single one of them, including herself, had lost their father. The next question came from one of the little ones: how did your dad die? “My father had melanoma,” she replied. “Mine did, too,” said another. “My dad had depression,” came another voice. “You know, that’s another type of illness, don’t you?” the teacher asked. He didn’t know. And that is a big part of the problem.
“Unless kids are hysterical and rolling around on the floor, people think they are fine. But that’s not necessarily true. They still need to be told stuff,” Smith says matter-of-factly. “There’s a cliché about resilience. I don’t think kids are born with it; I think they need help to be taught it. [Through Cloud Workshop] I wanted them to have something that would make them feel strong.”
The initiative might seem like a crucial one in our society, where support networks ought to be readily accessible, but the concept wasn’t exactly encouraged in the beginning. Before Cloud Workshop first launched in 2008, there were many doubters — ‘It won’t work… You’ll never be able to do this… It’s too sensitive’ they said. Smith admits, “The biggest challenge to get it started was actually with the parents and caregivers, convincing them that we weren’t going to take the lid off their children and send them home. Convincing them that actually we were all about empowering, not the opposite.”
But Smith pushed on, and now the classes are filled within five minutes of being announced. “It’s a simple idea that takes a lot of energy. It’s about creating solidarity around what all these kids are going through. I believe in art. It doesn’t matter whether you want to be an accountant or an All Black later in life, if you’re able to be creative, you’ll have an edge. And that’s what I want to equip these children with.”
As I look around at everyone present, kids entirely absorbed in what they are creating, sharing a common bond with those around them, adult volunteers soaking up the fertile imaginations and young energy, I can’t help but think that this is a kind of therapy. An unspoken way of healing that might just make the difference between a child who can’t cope and a child who can.
Smith could easily dedicate all of her time to Cloud Workshop which takes days of research and preparation in the lead up to each session, not to mention the time she is pouring into her new pilot programme for adolescents, Cumulus. But there is no doubting her commitment to it, “I guess for me, it’s the most important, wonderful work I’ve ever done in my life. Despite the sad premise, it just gives me a lot of joy to think that, when we’re in it, it’s really buzzy. Everybody’s making, and we’re just having a great time and all looking after each other.”
If she could encourage people to do one thing, it would be to start giving back on a community level, to pursue any concept that helps people in need — emotionally or otherwise. “Even if it’s a left-field idea, give it a go. There are a lot of people out there who need relief, so if you have the capacity to provide it, I believe you really should give it a go.”
With a rich history spiralling back centuries, the Italian cultural landscape is littered with classics but one of its most striking offerings only made its debut in the design arena 13 years ago.
From humble beginnings in 2007 with a mere two designers and a single craftsman, Henge has grown into a furniture and lighting force, now available in New Zealand at ECC, helping to define a contemporary approach to Italian design while respecting long-held traditions.
“At Henge the production line is formed by a network of artists, each of them a master of their profession, all linked to the company and trained in that type of production,” says Massimo Castagna, architect and artistic director of Henge.
“Overall, this is what represents the real Made In Italy, a unique production approach, adopted by the company but handed down through many generations.”
Respect for the past can be seen in the name, a gentle riff on the enduring monument Stonehenge, but it’s the cool lines of the award-winning Be Mine coffee table in brass or the attention-grabbing construction of the Starlight pendant light with LED technology, that has pushed Henge to the forefront of design. Henge picked up The Architects Newspaper Award for their Mushroom Table, while the Be Mine scooped the ‘Best Earth Tones’ category at the Wallpaper* Design Awards last year.
“We choose materials individually: each piece of stone, each trunk is valued and treated with care, using an innovative approach that takes advantage of their flaws and imperfections,” he says. “We choose to be unique.” That’s uniquely Italian.
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