Having published and edited some of the most influential lifestyle magazines both in New Zealand and in New York, it’s little wonder Claire has an excellent ability to create inspiring editorial content. As Denizen’s Editor-in-chief, she is firmly placed at New Zealand’s authority on the art of living well. In addition to The Denizen (website and magazine), Claire also publishes and edits New Zealand’s leading design magazine and website Design Folio, and is widely regarded as an authoritative figure in the design community.
Words Claire Sullivan | PHOTOS Jeremy Hooper | 3 Jun 2021
As a platinum-card-bearing member of the SUV-driving Mum club, I know a thing or two about the benefits of wielding my maniacal, working-mother aggression via the sheer scale of my large and oppressive four-wheel drive.
While we may not admit it to your face, or to our husbands, there’s a strong sense of ownership of the road, the school drive-through, the supermarket car park, and hey, even the children, when you are engulfed within the confines of a large luxury SUV.
And you can call us what you want, but I suggest you drive a few miles in our SUVs, experiencing the politics of the school pick up line or the demands of today’s cotton-wool-padded children, and you too may feel the need to sit a little higher and rev the engines a little louder, just to be heard above the madness.
So, when tasked with the opportunity to drive Aston Martin’s new SUV, the DBX, the first question I had was ‘just how loud and audacious is this thing?’
The British luxury marque has long been the domain of the mid-life “made it” male. And let’s be honest, a certain Mr Bond has only accelerated (pun intended) the appeal, because after all, what man doesn’t want to be Bond… and what woman doesn’t want to share a [dirty] Martini with him?
After many years in the pipeline, Aston Martin released the DBX (its first foray into SUV territory) last year and if the soaring local sales are anything to go by, they’ve hit the mark right off the bat. This immediate success has likely been down to the fact that frustrated women like myself want something with a bit more dominance on the road (see: school pick up) and male Aston Martin owners want an SUV to sit alongside their sports car. I mean, why not have two Aston Martins in the garage, right?
On picking up our new ride, the first thing my children and I notice is the deceivingly small exterior scale of the car. Yet surprisingly the DBX is in fact the same length as my Range Rover Vogue, and what’s more, according to my rear seat passengers, it has much more space for them to store their never-ending school detritus.
Designer Mark Reichman (the man behind the design of all Aston Martins) has done a genius job of creating a luxury SUV that looks and feels very sporty, while retaining the space practicalities that one demands from a car in this category.
By slightly lowering the bonnet and roof line the car still retains a clear visual connection to the much-admired Aston Martin fleet. Crucially, it’s a big car that looks much smaller than it is, even on vast 22-inch wheels. And that, dear Denizens, is a very clever trick to pull off.
Inside the car, the feeling is that of an English gentleman’s club, complete with hand-stitched leather and discrete dials (offering a stylistic nod to the marque’s Mercedes Benz relationship) that add the kind of opulence one expects from a car of this calibre.
A modern day sense of space and wellbeing is further enhanced by the 64-colour, dual zone ambient lighting. My demanding, back-seat passengers called for “cyan” — apparently my eight-year-old’s favourite colour. What ever happened to blue or green?
The DBX’s relationship with Mercedes also extends to the engine. With a 543bhp, 4.0-litre twin-turbo V8 engine, this car, when called upon in important situations, such as school pick-up, will blast out a domineering guttural roar, followed by a ‘putt putt’ as the gears lower. And god-damn does it sound good!
Throwing this baby into Sports+ mode employs its nine-speed automatic engine and delivers, quite honestly, the most thrilling and dynamic driving I have ever experienced behind the wheel of an SUV (and lord knows I’ve tried a few). Hitting a very impressive 100kmh in 4.5 seconds certainly aids in getting you swiftly to the front of the after-school queue, while the top speed of 292km/hour, got us home faster than you could say, “sorry officer, I’m just writing a story for some random magazine.”
But back to reality, the Aston Martin DBX is definitely designed for extreme versatility. Had the circumstances arisen, I would have happily taken her off-road and put her through her paces, because from what I understand, the DBX makes easy work of any situation.
For example, she has the ability to wade through 500mm of water unscathed, which makes me think that it would do very well in the slip n’ slide, slushy conditions of the Coronet Peak car park this ski season.
The sheer breadth of the DBXs abilities is nothing short of impressive, and it definitely passed the Kraus family litmus test of head-turning capabilities — a measurement my children have invented during my years as a luxury car reviewer — according to them, on one day trip alone, we had six separate incidents of people pointing and staring longingly at the car.
Which is, I’m sure, a testament to its handsome good looks and nothing whatsoever to do with the behaviour of the overly enthusiastic driver behind the wheel.
As founding partner and creative director of Inhouse; an Auckland-based boutique graphic design studio established in 1995, Arch MacDonnell is regarded as one of the foremost figures in his field, thanks largely to his lofty collection of awards. Continually recognised both locally and internationally for his work, MacDonnell has served as a judge at the Cannes Lions International Festival of Creativity, and has had his work exhibited at San Francisco’s prestigious Museum of Modern Art.
After 20 years of operating from Auckland’s CBD, MacDonnell set up shop in what he describes as a mid-century modern tramping hut. Renovated to his exacting standards and nestled deep within the bush of Birkenhead, with daily visits from neighbourhood kererū, the tranquillity he says, is the panacea to a working life of short-lead stressful deadlines. Here MacDonnell shares insights, observations and enthusiasms from the last twenty-five years of practice.
1. Good work begets good work We worked with Pip Cheshire a long time back when it was just Jane (my wife) and I, and he was still part of Jasmax, I remember him casually saying that ‘good work begets good work’. Not a difficult concept to grasp by any means but it had a particular resonance. It was like a little finger in the ribs, probably because we were doing a fair bit of horrible commercial work at that time. I knew he was right, and it was a catalyst for us ditching some clients. Whilst financially risky, it allowed us to focus on the creative work. We had to cut down on paninis and bowl lattés (it was the 90s) but we got to work on the NEW Gallery’s identity.
This work led to more projects with Auckland Art Gallery, dealer galleries and artist monographs. We’ve seen this play out in other fields also, working with the New Zealand Institute of Architects for many years led to opportunities to work with individual architecture practices. Having early success in wine label design means we have a winery client in the mix more often than not. So there was a second lesson — be brave enough to turn work down. While good work begets good work, mediocre work will also attract more of the same.
2. Build a team My dad would always say, ‘hire the best people, and the rest takes care of itself’. So building a team with different skill sets to mine — people who are better than me at many things — has always been my strategy. When we first started Inhouse back in ‘95, we did absolutely everything end-to-end on every job, as well as juggling babies and a mortgage. I learnt so much in those first years but feared heading down a creative cul-de-sac.
So we grew and soon discovered that building a team of curious, like-minded people, with the right amount of difference makes the studio an exciting place to turn up to everyday. And the work benefits. There’s more discussion, debate, analysis, and points of view. And the right team can expand what you take on as a studio; design a bespoke typeface; build a website; animate a logo because we have those skill-sets inhouse. I can’t do any of these things in practice but can stay intimately involved with their creation because we’re not always having to outsource them.
Working with my creative partner, Toby Curnow, has allowed the studio to shift gear and take on more significant projects. But we’ve always known we never want to get too big. The limitation of size allows me and Toby to keep involved in the physical nature of making the work — and we like that.
ECC branding by Inhouse Design.
3. Build lasting relationships While a lot of our work is project-based, it’s the long-term relationships and collaborations that form the studio’s spine. Working with new clients on a challenging brief, a bit of anxiety and fear comes along for the ride; fear of failure; of mediocrity; of getting paid — all kinds of fruitless worry. With the long term clients, because we’ve been through the design process several times together, there’s way less of that.
There becomes a shorthand way of working, a mutual understanding of the process and the expectations. It also allows you to try stuff you may not have otherwise. We’ve worked with the inimitable Thorburns — Mike and now son Richard at ECC since we rebranded them in 2006, and fifteen years later we’re pushing the original logo around in a new and playful way. That’s pretty cool.
4. Keep it simple Simplicity; clarity; integrity; honesty, are inherent in our approach to graphic design. We like to take a reductive approach to a task or brief — we like simple, but not simplistic solutions. ‘To distill something to its essence, the essential’ is a modernist ideal that still rings true but we don’t believe there should be a total lack of emotion or sentimentality in the work. We talk a lot about successful work having ‘spirit’ — an enigmatic quality, an energy.
5. Ask questions There’s a joke that we designers like…
Q. How many designers does it take to change a lightbulb?
A. Does it have to be a lightbulb?
As designers, we are hard-wired to find efficient solutions to any given problem or brief. But at the early, investigative phase of the project, it’s best to ask a heap of questions. It’s how we are going to unravel the complex, and try and simplify it.
John Reynolds’ Blutopia. Book by Arch MacDonell, John Reynolds and Laurence Simmons.
6. Can we find new forms? It’s a popular misconception that graphic designers just ‘love’ what they do, that it’s all fun and games — like a hobby. This can be true of parts of the process but it’s simply not the case for me. It’s hard work; it takes relentless effort; we are continually tasked with finding a new way at something — to present something that hasn’t been seen before. I’m not sure that’s even entirely possible in today’s world where we overdose on visual communication.
The desire to find new forms is why I enjoy working with John Reynolds. His signature handwriting and energetic mark-marking, rambling and bristling demands to sit centre stage within any given output because it is unquestionably its own thing. The book we made together, Blutopia has unique covers hand-painted by John, so no two are alike, a looping visual schema of over-drawing and painterly play.
The Boneline by Inhouse Design.
7. Never stop designing We’ve been discussing this a lot in the studio lately. The importance of pushing and making changes to the work, even late into the job, is never off the table. One of my favourite Inhouse projects was for a new wine brand in the Waipara Valley. We helped name The Boneline in reference to the nearby K—T Boundary line that defines the extinction of the dinosaurs. Up the valley, it’s Canterbury Gothic; shadowy hills and murky corners. We had a great rapport with the client, a compelling story and had produced some beautiful visual assets.
All the stars had aligned but late in the process we thought the work could be better. We made a simple but significant change — a dramatic scale shift had an activating effect and everything fell into place. Like it was always meant to be this way.
8. Love print We believe the role of print in people’s lives is changing as part of a reaction against being continually online and connected. The increasing need to take time out from screens means the role of print is becoming more valuable. We have more books on the books than ever. While our print work has certainly diminished, there’s almost an obligation to make the work that is printed, a bit special. Corporate stationery is practically obsolete now. The business card is sometimes the only artefact so we like to get all American Psycho on those.
Tatau by Inhouse Design.
9. Make stuff to last After a few years working in Wellington advertising agencies, I developed a love for moving type around. It was physical, mechanical work; adjusting type sizes on a bromide camera or Letrasetting a headline. Back then everything went to print and even the artwork itself was a physical thing. With the world becoming increasingly digital, we’ve had to adapt and learn new designing methods for this media. They all present new opportunities but you can’t escape the fact that you’re trapped in the flat visual plane of a screen.
So making things that live in the physical world, like books is really important to us. We love designing books, especially ones that contribute to the understanding of the culture. We love that they tend to stick around and have an ongoing impact. But we also believe that in general, good design lasts, well-designed things tend to be kept and are less likely to be replaced or redesigned.
10. Help the aged I spent a lot of my early career typesetting blocks of text in 5-6 pt. Tiny. I loved the way it looked on the page. For this, I now apologise. My defective visual perception i.e. deteriorating eyesight, has afforded me empathy with those who suggested I increase the point size. I was recently revisiting a book I’d designed back in 2006, and you were right — it’s fucking hard to read (sorry). Current design work is now reassuringly readable.
11. Have the right amount of wrong Graphic design doesn’t always have to be beautiful. I like work that can appear a little awkward, a little off. Something that makes you look twice. It could have something to do with an odd scale shift, something off-balance, or just a super-fruity typeface.
The Inhouse studio in Birkenhead Point. Photo: Mary Gaudin.
12. Obsess about other stuff Being a graphic designer and running a short deadline-driven practice means a lot of time at the studio, and a lot of time on the computer and a lot of fucking emails. So it’s imperative to have some design projects off the computer and unrelated to Inhouse work. Over the last couple of years, I’ve gotten a bit obsessive about designing and planting native gardens.
About three years ago, we returned to our Inhouse roots, relocating from a downtown Britomart warehouse to the leafy suburb of Birkenhead Point. A humble 60’s structure situated high in the canopy of established native bush backing on to Le Roy’s Reserve. I have been re-wilding the back and turning the old front lawn and entrance into a Japanese-inspired native garden. Such pleasure in exchanging fonts for flora, the garden is the slowest design project I’ve undertaken — there will be flower cycles and trees that will display spectacular transformational performance. And creating a little zen-like haven for the studio has acted as an antidote to the studio’s daily demands.
Photo: Dean Foster.
13. Take a look in the mirror I have a curious habit of reviewing work in front of the mirror. I’ve done it since university days. I’ll take a mocked-up book cover, bottle of wine, whatever, and assess its reflection. Seeing it in mirror-image somehow highlights imperfections in much the same way that inspecting type kerning by looking at a printout upside down does. You can also observe how your ‘whatever it is’ looks in the hand and whether your bum looks big with it.
Auckland’s Park Hyatt has many luxurious feathers in its cap, not least is its suitably refined, restorative Spa. With a range of top quality treatments on offer, and some of the most indulgent surroundings ever seen in this city, an afternoon here is the antidote to life in the fast lane. The eponymous Spa’s treatments run the gamut of relaxing to utter restoration, and in an Auckland first, they offer a facial treatment that promises to be a gamechanger for tired, ageing skin.
The Haute Couture Facial employs the highly active algae-derived V-TOX cream from London’s revered facialist Linda Meredith. V-TOX is designed for those who want to see visible results, without undergoing invasive cosmetic procedures.
The facial combines the effectiveness of V-TOX with oxygen. Oxygen was first introduced as a powerful ally in the beauty industry in the 90s and is still considered one of nature’s most powerful healing elements, having been used in the medical industry on various skin conditions for many years.
The Haute Couture facial sees oxygen applied to the face and neck, before a fine layer of V-TOX is applied all over the entire face and neck. The product is then infused into the skin by a continuous steady flow of oxygen. The production of collagen is dependant on the presence of sufficient quantities of oxygen, which is why oxygen therapy plays such an important role in the future of skin care.
The results from a 90-minute facial speak for themselves with skin feeling substantially plumper and smooth. Incredible results can be achieved with a course of six treatments close together, which will see lasting effects that remain for months.
The therapeutic use of hot/cold therapy dates back to ancient civilisations where water was used as a medium for transferring heat and cold to the body for the treatment of various ailments. Drawing from the wisdom of early hydrotherapy practices and current scientific research exploring the many benefits of exposing the body to extreme temperatures, Grey Lynn’s wellbeing haven, Hana, has opened the first contrast therapy room in Auckland.
Adding to their offering of infrared saunas and red light therapy, a fourth sauna treatment room has been created which combines an infrared sauna and an ice bath. A session begins with a pleasant 20 minutes of relaxation in the infrared sauna set at an optimal temperature of 70 degrees Celsius, which gradually heats the body from the inside out. The idea is to get as hot as possible before plunging immediately into the cold bath.
Despite visions you may have of ice cubes floating about in the bath, the specialty tub that Hana has installed allows for the temperature to remain at a consistent six degrees Celsius, no ice cubes required. Clients immerse themselves in the bath for a period of 1-4 minutes, depending on their tolerance levels. I lasted a reasonable 2.46 minutes in this first dip.
The transition from hot to cold is then repeated once more by returning to the welcoming warm sauna for a further 20 minutes, followed by one last plunge in the cold bath for up to 4 minutes. Interestingly I found it much easier to last the full 4 minutes on my second immersion. My session then ended with a shower and one incredibly invigorated demeanour.
So why on earth would you expose yourself to such torture you ask? The science behind it is very much a yin and yang approach to wellbeing. As the infrared wavelengths of light from the sauna penetrate into tissues, toxins are dislodged and released through sweating. This heat supports the dilation of blood and lymphatic vessels, encouraging circulation to flow to the periphery whereas immersions in the ice bath constrict these vessels to redirect circulation towards vital organs. The pulsing pump-like action of vessels created by contrast therapy helps flush waste out of the body and reduces inflammation and pain.
Exposing the body to these temperature extremes also triggers the production of heat shock and cold shock proteins, which repair damaged proteins and cells, increase immune system response and speed up muscle recovery. In situations where there is injury to muscles and other tissues, contrast therapy reduces inflammation and alleviates pain. It helps to speed up muscle recovery post-workout as well as combating fatigue after an intense workout.
Furthermore, regular cold immersions also increase metabolism, supporting healthy weight management. The cold shock response induced by ice water immersions has a protective effect on the brain and may reduce the risk of neuro-degenerative diseases such as Alzheimer’s.
So the benefits are pretty compelling, but how often does one need to expose themselves to such extremes for results? According to Hana owner Sara Higgins, “this depends on what you are trying to achieve from the treatment. If it’s for improving general wellbeing, a session a week would be hugely beneficial. If it’s to support an inflammatory condition or speed up muscle recovery post work-out or training, then more regular treatments will be required.”
With a packed sailing schedule on the horizon and (hopefully) an invite or two out on the water to look forward to, now is the time to brush up on the dos and don’ts before you step onboard. Cement your status as the perfect guest by familiarising yourself with the eight golden rules of boat etiquette. You’re welcome.
Be grateful Keep in mind, boats aren’t cheap to buy or maintain. Your host is spending his or her time and money to take you out, so don’t act like a buffoon at a frat party. There’s a certain degree of gauche swagger that some people adopt when stepping onto an impressive boat. Be sure to remember that your hosts have gone to some sort of effort for you, so be appreciative and impressed, this is not the moment to be nonchalant.
Leave the shoes behind Yes, they may well be called boat shoes, but they are not likely to see the light of day on board the boat. Be prepared that you will be asked politely to remove your shoes. Therefore, foot maintenance is a must prior to departure. And if your host requests that you wear your stilettos on board, ask to leave immediately.
The Captain is in charge This point is non-negotiable. While he/she may not always be at the helm, they are most certainly the dictators of the day. If they ask you to move, shut up or turn the music down, do it. On that note, the Captain also chooses the music — end of story.
Sunscreen Regardless of whether the sun is shining or not, you will get burnt on the water. Show some respect to the boat’s owners by applying sunscreen before you embark. Sunscreen is notorious for damaging upholstery. On that note, under no circumstances, should one arrive on board with a fresh spray tan. If your tacky tan marks the upholstery, you can kiss your days on the water goodbye.
Don’t be late There is nothing more disrespectful than arriving late, particularly when there is a race to watch. With speed limitations on Auckland’s Harbour at a 5 knot snail pace, any delays will guarantee your vessel is the last to the course, and therefore misses getting a good view of the on water action.
Bring something While it’s most likely that the entire day will be catered for, including food and beverages, it is just polite common decency to turn up with a bottle of something decent to thank your host for the trouble and expense they have gone to having you on board.
Pack the right clothing Some may be surprised to learn that sailing is a high wind stakes sport, not a day of sunbathing and swilling cocktails in a gentle breeze. Come prepared for cold blustery winds, rain and a decent amount of sunshine.
Dropping the kids off at the pool A sensitive subject for all on board. The best approach here is to ensure you have made all practical efforts to disembark your own personal bodily issues prior to boarding the boat. If this is not the case, be sure to follow the instructions for the boat’s toilet use. While number ones are acceptable and inescapable after plenty of drinking, number twos have been known to cause catastrophic outcomes for all involved. You have been warned.
Words Claire Sullivan | PHOTOS Jeremy Hooper | 2 Jan 2021
Few businesses in New Zealand can claim to have as prestigious a history as Partridge Jewellers. Family-operated since the 1800s, with the sixth generation now working in the business, it is a veritable dynasty —a fact that isn’t lost on its current leader, Grant Partridge.
Having worked in the family business since he was 16 years old, Partridge has brought a unique vision to its operations, working tirelessly to establish the Partridge name as inexorably entwined with the highest-quality jewels and jewellery designs in New Zealand. Under Partridge’s leadership, the business has grown in size and significance thanks to its exclusive relationship with some of the world’s most coveted luxury brands.
Here, Partridge discusses jewellery-making today, his father’s advice and the question of succession.
I officially started in the family business in 1976, I was 16 and fresh from high school. But really I started helping out much earlier, I grew up in the business, helping out during school holidays and on weekends.
You can’t help but feel proud to be part of something that has 156 years of history all with one family. I am the fifth generation and have three children who also work in and around the business. I feel so lucky to have been given the opportunity to take over what I see as such a legacy for my family.
As I get older, the main drive of my place in the business is focused on setting it up for the generations to come so that they can be given the opportunity to have the same fulfilling and passion-filled career like I have had. It is amazing to see how we have taken the knowledge, expertise and craftsmanship of all the generations before us, and modernised them for today. My daughter is a jewellery designer, my son the assistant manager of our Wellington store, while my youngest son, who’s just turned 21, is learning his business skills at KPMG and will hopefully move into the business at some stage too.
People would be surprised to know how passionate I really am about jewellery. I have a long-standing love affair with coloured stones and diamonds. Even after 45 years in the business, I spend my weekends in the office going through all of the individual stones, much like I did when I started out. The pleasure I gain from the stones and the end design is what continues to motivate me today.
Jewellery making is very rewarding. Imagining the design through to the finished creation is so satisfying, particularly when you see the emotion it brings the eventual recipient. Knowing that we are giving people something they can treasure for a lifetime is an amazing feeling and something I am so fortunate to be part of. At the end of the day, the most rewarding part of the job is the knowledge that each piece means something so different and unique to every person.
I’d like to learn how to slow down. I am so passionate about our business that it totally consumes me, it is my job, my passion as well as the fulfilment of my dreams.
My father always said “Don’t put off until tomorrow something you could do today”, and I really live by this. I carry notebooks filled with To Do lists that I am forever trying to tick off.
I think that the generations before me would be proud of what the company has become in all aspects of our business, from the craftsmanship we uphold to the brands we carry.
I secured the Rolex agency in 1987 for our Wellington store. Then we opened our Queen Street boutique and secured brands such as Cartier and Patek Philippe. We also became the only Argyle Pink Diamond dealer as well as the exclusive representative for De Beers with their Forevermark brand. The significance of these brands changed the perception of our business immediately. I find the watch industry so inspiring, having the influence of so many international experts in their field helps me with my vision. I definitely have a lot of pride that some of the world’s most exclusive watch brands chose to partner with Partridge Jewellers in New Zealand.
My parents always worked hard. I will be forever grateful for the opportunity to be part of something so much bigger than I ever dreamed of, and something that I will always be able to look back on with pride.
I love browsing through watch and jewellery stores overseas. I have many memories with my own children, making them stop on our family holidays to look at the latest designs in my favourite boutiques. I am sure this is one thing they will remember forever, and no doubt plays into the passion for the craft I am seeing in them as they grow up.
Running a business alone can be daunting, but knowing that I have my entire family of over 85 staff in full support of my decisions is so important to my confidence in leadership.
My father was the most influential person in my life. He was a great role model, a tough taskmaster, a very hard worker and always fair, generous and kind in so many ways.
Words Claire Sullivan | PHOTOS Jürg Kaufmann | 16 Dec 2020
Any Kiwi who watched with interest as Sir Peter Blake’s Black Magic won and then defended the America’s Cup in 1995 and 2000 will know who Brad Butterworth is. The same people probably also remember the controversy he and a contingent of his teammates caused when they left Team New Zealand for Switzerland, going on to compete for Alinghi, and taking the America’s Cup from their former team’s hands. But there’s more to Brad Butterworth than what most people know.
Quiet but observant and undeniably shrewd, the four-time America’s Cup winner, Hall of Fame inductee and multiple World Champion is a passionate advocate for sailing, both here and overseas. In fact, having left school early to be a sail-maker at 16, Butterworth’s life has been largely defined by his love for the sport. He’s currently back in New Zealand for the upcoming America’s Cup, having been hired by the Challenger of Record, Prada, to manage relations between the Italians and the Kiwi organisers.
Here, Butterworth talks about how other people see him, Team New Zealand’s chances of winning the America’s Cup and who he’d love to meet.
I think people’s perception of me is that I’m a bit mischievous. But the truth is, regardless of what team or country I’m representing, I really put everything I’ve got into making a success of it.
I’d like to be known for helping to continue to see the sport of sailing thrive here in New Zealand at every level. It’s great to see junior sailing so popular right now, and Covid has had a great impact on getting older sailors back out on the water. I’d love to have some responsibility for continuing this passion for sailing in New Zealanders.
People would be surprised to know that I love the mountains, I love mountain biking especially in the summer in Switzerland.
One of the most important things I have learned is the power of listening first before you talk or respond. People probably think I’m quiet and reserved, but really I’m just taking it all in before I react. I’m never the first to talk in any situation. I think this is a particularly important trait for young people to take on board when dealing with older, wiser people.
People gave me a lot of grief when I left New Zealand to work with Alinghi, but what no one realises was that I had already spent a huge amount of time training and working internationally with the likes of Dennis Conner, prior to sailing for New Zealand.
My father taught me to sail on Panmure Basin when I was five years old. At 16 I left school to become a sail-maker. I was really fortunate to go on and work for great sailors like Dennis Conner and others that taught me the skills that helped me later on when I joined the New Zealand team.
My entire family moved to Switzerland in 2001 because of the job I secured with Alinghi. After that we just stayed on, because the kids were settled in school, and we really just have the most amazing life there. But I am still very much personally invested in New Zealand with business, so we return every year over the summer to Waiheke.
When I was young I really had no idea what to do as a career, so I just stuck with the sport that I loved, and it turned into a career, which is a pretty cool thing.
I perform at my best when I work with people I like and respect and that are extremely intelligent. That has been the key to the success of any team I have been part of, whether it was Team New Zealand (1995 to 2000), or the Alinghi team (2003 to 2010), or even now with my involvement with Prada — we always make sure we have plenty of team members that are smarter than us.
I’d love to collaborate with Toto Wolf and his F1 team. I think when there is that much money invested, and it’s all so technical, it would be a wonderful learning experience on how they operate at such an extremely high calibre of teamwork.
I live by a rule of conduct where actuals have to exceed expectations.
Sailing is a sport like no other, that pits man against the elements. It’s utterly intoxicating.
The America’s Cup is hard to win, as it should be for such a trophy. But reducing the conquest or quality of teams by limiting participation through excessive costs (while it might make the conquest easier) is limiting the attraction and achievement.
I’m old fashioned and ultimately I’d love to see an America’s Cup regatta that had boats racing back in the water [as opposed to foiling above the water as they currently do].
When I left New Zealand after the 2000 Cup to work for Ernesto Bertarelli’s team Alinghi, it was a really exciting time for me. Starting fresh and being able to work with some of the most incredible people in our field from all over the world was an amazing experience. When you work in that kind of environment you are exposed to so much more. Having the opportunity to learn about business from someone as successful as Bertarelli, through just listening and observing, was so motivating, and something I am incredibly grateful for.
I’d love to meet Sam Neill. I’ve always thought he’s an amazing New Zealander. I bet he’s got some great stories to share. Also the fact that he owns a vineyard, makes me feel like we would have a lot in common.
People always assume that I’m unapproachable. Because I’m quiet and thinking, I guess I can come across as aloof. But I really do like people.
I am very humbled by the help and support I have received over the years, from family, colleagues and the public, even lately I’ve been humbled by the respect that I have.
I definitely think the Kiwis will win this America’s Cup, those young guys [Peter Burling and Blair Tuke] are really special sailors.
My family would describe me as mischievous, and fourth in line after the dog. I intend to come back and have the dog’s life. It’s living the dream.
My colleagues would describe me as a team player, who’s maybe a little devious but reliable, I hope. When we were back working with Sir Michael Fay on Black Magic, he got us to all do these psychological tests, I scored extremely highly in the shrewd department, so I think you could say I am very good at finding the twist in order to achieve success.
As I get older I’m definitely becoming more risk orientated. With experience comes an ability to understand the outcomes of taking risks that will pay off.
I am a hopeless fisherman, but I love it.
Peter Blake’s death at the hands of pirates in Brazil, had a huge impact on me and my mates. He was so influential to so many of us, not everyone got to sail with him, but he was an amazing seaman who taught us all seamanship. He wasn’t into the tactics, but as far as building a team, everyone working with Pete was working for a common goal. He was just such a likeable guy. So to have someone so pivotal in your life die so tragically was hard to deal with.
I find owning a vineyard [in Martinborough] a real adventure and commitment. We have been so fortunate to have inherited such very good people, so the wine is really special.
I am humbled by what Kiwis achieve and how we are viewed globally as being very honest, capable and down to earth, I hope as a nation we can continue to uphold our reputation and perception.
Words Claire Sullivan | PHOTOS Josh Griggs | 4 Dec 2020
With a career that spans almost 25 years and two continents, Gareth Stewart was always destined for success. With his first big break — landing a job at London’s prestigious Claridge’s Hotel — at the tender age of 18, Stewart went on to work in the kitchen at the Michelin-starred restaurant The Greenhouse in Mayfair.
In 2007 Stewart moved to New Zealand to take the helm at Soul Bar & Bistro before becoming the National Executive Chef for Nourish Group in 2015. Responsible for planning and overseeing the menus at some of the country’s most revered eateries including Jervois Steak House, Andiamo and the newly relaunched Euro, Stewart executes his role with an acute awareness of ever-changing tastes and a unique ability to move with the times.
Here, the acclaimed chef shares his experience working in Michelin-starred kitchens, his love of two-minute noodles and why he finds his work so rewarding.
I realised early on in life (around the age of eight) that I was destined to be a chef. I loved producing food, I loved the fact that you put all these ingredients together, and at the end of it, you got this delicious, tasty treat. By the age of 11, I cooked my first dinner party for adults. My mum took me to a place in Cornwall, that was an old cottage and it had an AGA, which at the time I didn’t even know what it was. I grew up semi vegetarian, so I cooked a pasta dish with cheese sauce and some salad, it was a lot more exotic and tasty than it sounds, and everyone loved it.
I think there’s probably an inherited trait in me that understands food, my mum’s a great cook, her mother was a home economics teacher, and both of them are really great at baking. My dad’s mother was also an incredible cook who would passionately cook for armies of people.
The first time I ran my own kitchen, I realised I had to teach myself an awful lot. I was definitely running with a “fake it til you make it” attitude, it actually feels like I’m still doing that in some respects today. I was Head Chef at 21 in London at a restaurant in South Kensington called Cactus Blue. I was working extremely hard, making quite a bit of money and having lots of fun. But I also learnt very quickly that you can’t always be friends with your staff.
Because I started my career working in Michelin-starred kitchens like The Greenhouse (in Mayfair), my focus in the early days was on classical culinary techniques. I think having the understanding of these techniques, whether you use them in their traditional sense or modify them, has been a major factor in my success. I definitely still draw on this knowledge today, and try as much as I can to impart these ideas onto my chefs.
To be in hospitality you need to be tough and have a hard skin. The first kitchen I worked in was the Queens Hotel in London. I’d left school at 15 and had grown up in a pretty PC household, and all of a sudden I was exposed to some outrageous things. Initially I’d go home really upset because it was just so intense, some of the bad things they were saying. But I learnt it’s not personal, you just have to have a really thick skin.
Ultimately though, this is not the best way to develop staff, encouragement works better, and sitting down with them having a frank conversation. Cooking is incredibly hard, it’s stressful, and you have to learn to be continually creative and precise while you work under pressure. It’s hot, you’re on your feet all day, so if someone is screaming their head off at you it’s not great. But for me, I was never going to lie down and take it, until I got better and moved up the ranks. It was a hierarchical thing back then for sure. Chefs realise now they don’t need to put up with this behaviour, so times have definitely changed for the better.
When I got the call up to lead Nourish Group, I didn’t realise the scale of it. There were nine very diverse eateries, including the iconic Euro restaurant, Crab Shack and Jervois Steak House, it was very overwhelming at the beginning. But after nearly five and half years, we’ve grown and gotten better as we understand our diners better. Eating habits have also changed dramatically, so we’ve had to evolve our menus to suit this new way of eating out.
I absolutely love chefs and the kitchen environment. My passion is chefs, I always want my chefs to do well, so I always make a plan with them, which makes me feel good and makes them feel like they’re recognised. Training staff is one of the most rewarding parts of my job.
I spend a lot of time doing research. Ideally it’s by travelling, I love Italy, and lately I’ve been obsessed with Los Angeles. The LA food culture is amazing, it’s all based on healthy eating, which is something we’re still not quite into here in NZ, we still get a lot of requests for the meat and veg approach.
The best advice I could give someone starting out as a chef is to concentrate on working in really good restaurants. Immerse yourself in them. Give yourself at least three years in one place. And read all that you can about great international chefs and food trends, and follow great chefs on Instagram.
People seem to think that you go into becoming a chef or waiter because you’ve failed at school and life in general. It’s a bloody hard career that is so rewarding, but it deserves much more respect than it gets. We’re not just cooks, we’re craftsmen, accountants, counsellors to our staff, and magicians. It’s a real guessing game working out who’s ordering what, how many people are going to come in, how much fresh produce to order.
If I have to admit a guilty pleasure it would be two-minute noodles, I absolutely love them, but they’re so bad for you. And I’m also a Trekkie [a fan of Star Trek], is that going to ruin my cred?
I would have loved to have met Auguste Escoffier, the French chef, restaurateur and culinary writer who popularised the idea of Haute Cuisine. He wrote a book in 1903 Le Guide Culinaire on the fundamentals of cookery, which was a bible for me in my early career. I would be so interested to see what he would make of food today, the ingredients and the equipment we have to create the magic.
Power players on the international jewellery and fashion scenes, Jessica McCormack and Emilia Wickstead have joined forces for a spectacular jewellery collection that honours the duo’s shared New Zealand heritage. Pairing pearls with diamonds, the pieces are an ode to their homeland, with designs anchored in South Pacific motifs, and embodying their shared ethos of bringing classic ideas into a contemporary setting.
A selection of the stunning pieces has arrived in New Zealand for an exclusive showcase being held at Simon James’ Newmarket store this Saturday the 14th and Sunday the 15th of November only.
Pearl drop earrings anchored by delicate heart diamonds feature alongside more elaborate pearl and diamond chandelier earrings and diamond and pearl ear jackets. Each of the pieces comes beautifully presented within an exclusive Jessica McCormack x Emilia Wickstead velvet case that’s lined with nautical-themed fabric from Wickstead’s spring/summer 2021 collection.
In addition to the new collaboration, the trunkshow also includes a selection of exciting new pieces from Jessica McCormack’s eponymous line of jewellery. A showstopping 2.01 carat emerald cut East-West button back ring, Palm earrings featuring 1.0 carat of diamonds and embellished with emerald leaves, and a selection of pieces from McCormack’s Livewire collection are among some of the eye-catching treasures on show.
From left: Livewire necklace; Signature palm earrings; Emerald cut east-west button back ring
Jessica McCormack x Emilia Wickstead nautical-themed velvet case
With our love for these globally successful expat designers showing no signs of abating, the reception of these uniquely beautiful designs is likely to be extremely enthusiastic, so we suggest viewing this stunning collection this weekend before it flies —literally — out the door.
With a landscaping career that spans more than 20 years, 15 of which were spent working alongside the country’s most revered landscape designer, Suzanne Turley, Aaron Bell-Booth has pathed an illustrious career that’s involved working on such prestigious projects as the gardens at Huka Lodge. With a signature style that sees sumptuous layered gardens accented with trees and shrubs that deliver arresting sculptural form, Bell-Booth’s unwavering passion for gardens that are visually captivating, yet functional, has seen his stratospheric rise on the landscape.
I wouldn’t say I have a landscaping style, our designs differ considerably from project to project, we do employ the same principles of design such as balance, texture, proportion, use of form, patterns and repetition. When designing a landscape there are so many considerations we need to observe, for example the architecture, the existing landscape and environment and of course we have to consider the clients’ requirements and aspirations for the site.
Westmere garden by Bell-Booth.
I recently completed a rural property adjacent to a tidal waterway. Although the project is ongoing the completed first stage is establishing beautifully. We had the first season of wildflowers and it met both our expectations. The client has an infectious energy and passion for the property. It’s so important to connect with your clients, I believe we shared the same vision from the get-go.
I unexpectedly find inspiration by revisiting old projects through site visits, photos, sketches and design drawings. I guess it’s a form of self development to reflect on past work, and inspiring to see how elements have transformed and developed with time.
The one thing every garden needs is someone who is invested in it. Not necessarily financially but a garden needs the investment of time and care. Gardens are only as good as the effort put into them.
A recently completed rural property with wild flowers.
I’ve admired the artworks of Claude Monet from a young age. My parents always put special attention into nurturing our interests, and being one of six children I’m sure this was quite a challenge. As a child I will always remember my mother taking me to the Auckland Art Gallery to see the Monet exhibition. Not only was it special to spend time alone with my mum but we both loved his work. The way he captured the light, movement and emotion in the landscape.
Huka Lodge
Huka lodge is one place that I often refer back to for inspiration. Although it has been many years since I have been there, recurring images I’ve seen online, in books and photos of work I was involved in over the years when working for Suzanne Turley Landscapes are still relevant today. The property has so many amazing elements from large established trees in park-like surroundings to blended native & exotic borders. The beautiful gardens seamlessly connect you from one area to the next, pathways through native plantings lead you to the private rooms. It is a truly unique and special place.
I will always admire Suzanne Turley’s landscapes. She is an amazing designer and I was privileged to have spent 15 years working alongside her. I owe a lot of the skills I have today to working with her and her team, executing projects of a very high standard of excellence. I can proudly say that the landscapes we worked on together are some of the best in New Zealand.
The work of Paul Bangay.
Globally I love the work of Paul Bangay and Luciano Giubbilei. They both have a sophisticated eye for form, balance, texture and materials. The landscapes are strong in composition, I like the simplicity of their approach and the use of repetition to make an impact.
If I wasn’t doing this, I would be doing some form of art. I grew up in a creative family, my father is an exceptional florist, my brother an established motion graphics artist, my siblings and I ran a multi disciplinary studio/ gallery at one stage, so definitely art.
The work of Paul Bangay.
I feel our wetlands are under appreciated by many, they are a unique aspect of our natural environment. Ecologically they are very important, filtrating pollutants, supporting wildlife, and a significant carbon sink.
People would be surprised, and probably disappointed to know that there is no such thing as a low-maintenance garden, however simplistic a garden may be, if they are uncared for they deteriorate quickly.
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