Italian designer Paola Navone

We delve into the life and storied career of Italian designer Paola Navone via some of her most iconic pieces

In the realm of design, Paola Navone is an undisputed pioneer whose visionary work is known for transcending creative boundaries. Emerging from the male-dominated Italian design scene of the 1980s as a standout figure, Navone has proceeded to reshape contemporary aesthetics with her innovative approach, leaving an indelible legacy in her wake. Here, we explore the designer’s life and work through some of her most iconic and recognisable pieces. 

Italian designer Paola Navone is a design force to be reckoned with. With a career spanning over four decades, Navone has carved a unique niche for herself, blending elements of traditional craftsmanship with contemporary aesthetics to create a style that is distinctly her own. Renowned for her eclectic and cosmopolitan approach, Navone’s work reflects a rich tapestry of influences from her travels around the globe and speaks to her willingness to seek out new and novel ways of looking at design.

Born in Turin in 1950, Navone’s journey into design began at the Polytechnic University of her hometown, where she studied architecture. However, disillusioned by the conventional teachings of the time, she embarked on a quest to explore alternative approaches to design, finding inspiration in avant-garde movements such as Archigram in London and Paolo Soleri’s Arcosanti in Arizona. For her master’s thesis, Navone delved into the realm of radical architecture, a school of thought that set the stage for her groundbreaking career. Speaking with Frame magazine a couple of years ago, the designer said, “During my studies I discovered… that there were groups of architects doing something very different from what I was being taught. They were not interested in designing ‘normal’ buildings… but rather fantastical ones, utopias.”

But it was her encounter with Alessandro Mendini that proved to be a turning point, when she was asked by the design luminary to move to Milan for a job. Joining Mendini’s circle, which included Ettore Sottsass and Andrea Branzi, Navone became immersed in the vibrant world of Studio Alchimia and later Memphis, where she was able to hone her bold and colourful aesthetic. It was also during this time that she won a competition held by Abet Laminati which catapulted her into the spotlight and cemented her status as a rising star in the design world.

Importantly, it was alongside these other designers that Navone started exploring the idea of the design of tomorrow. In 1978, the group presented its first collection Bau.Haus uno at Milan’s Salone del Mobile, which was considered radical and utterly unique. As Navone said, “Nobody bought our collections, but we didn’t care. We were trying to imagine a new way of working – a new kind of design…We worked with colour, pattern and asymmetry. We covered furniture with designs and patterns, when most of what was on the market resembled a blank canvas.”

Navone’s insatiable curiosity and wanderlust eventually led her to Asia, where she spent nearly two decades exploring the intersection of craft and industry. Collaborating with local artisans and manufacturers, she was able to draw on a variety of influences to infuse her designs with a unique blend of Eastern and Western influences, earning her a reputation as a visionary with a global perspective and allowing her designs to truly transcend borders in a way that very few of her contemporaries’ pieces could and in 2000, she started her own, multi-disciplinary design studio, Otto, through which she continued to build on her stellar reputation.

“[navone’s] philosophy is one of adaptability and pragmatism, eschewing rigid adherence to trends in favour of a more fluid and intuitive approach”

Throughout her illustrious career, Navone has worked with a myriad of prestigious brands, including, Alessi, Poliform, Linteloo, Gervasoni, Serax, Ligne Roset and more, leaving an indelible mark on the world of design. Her philosophy is one of adaptability and pragmatism, eschewing rigid adherence to trends in favour of a more fluid and intuitive 

approach which ultimately, creates spaces and products that are inviting and approachable. Whether she is designing furniture, textiles or interiors, Navone imbues her work with a sense of warmth and hospitality, inviting people to engage with their surroundings in a meaningful way. For Navone, design is not just about aesthetics; it’s about creating experiences that enrich people’s lives.

Ghost sofa by Paola Navone for Gervasoni from ECC

Ghost Sofa for Gervasoni (2002)

Available locally from ECC

A testament to minimalist elegance and versatile functionality, the Ghost sofa boasts a thin, minimal structure, padded with polyurethane foam, that provides comfort without sacrificing style. While the removable cover, highlighted by visible stitching, offers the freedom to switch between formal and informal looks effortlessly. Inspired by its white version’s ethereal appearance, the Ghost collection features seats enveloped in soft cushions, inviting relaxation. With sofas, armchairs, ottomans, chairs, and beds all part of the wider collection, each piece becomes a canvas for personal expression, adapting to different moods and settings.

FISH BOTTLE by Paola Navone for Serax from ECC

The Fish & Fish Tableware collection for Serax (2002)

Available locally from ECC

Designed by Paola Navone for Serax, the Fish & Fish collection celebrates the humble herring, a beloved staple of Baltic cuisine. Infused with Navone’s signature relaxed and playful style, this tableware collection is perfect for casual gatherings or elegant dinners. Inspired by products created during the Great Depression in the 1930s, Navone brings a touch of nostalgia to each piece, creating a charming blend of tradition and modern design. Ideal for serving appetisers, finger foods or indulging in a seafood-themed feast.

Chester Moon Sofa by Paola Navone for Baxter

Chester Moon Sofa for Baxter (2005)

Designed as a stunning reinterpretation of a classical model, Baxter’s Chester Moon sofa saw Paola Navone blend timeless elegance with modern simplicity. This exceptional piece exemplifies the importance of shape balance, seamlessly combining intricate craftsmanship with clean lines. Inspired by historical handicraft techniques yet firmly rooted in a contemporary aesthetic, the Chester Moon sofa embodies a harmonious fusion of tradition and innovation, where its understated design and impeccable craftsmanship make it a standout addition to any space.

Big Bug by Paola Navone for Poliform from Studio Italia

Big Bug for Poliform (2009)

Available locally from Studio Italia

In creating Poliform’s Big Bug chair, Paola Navone designed a structure crafted from flexible printed polyurethane with elements in foamed polyurethane of varying densities to offer unparalleled support. Known for the ways in which it redefines comfort and style, Big Bug boasts an innovative silhouette that showcases highly original geometries, with one low armrest adding to its distinctive appeal. The outstretched covering, available in removable fabric or non-removable leather, completes the look with a touch of sophistication, and makes this piece a true masterpiece of modern design.

Nuvola 09 lounge chair by Paola Navone for Gervasoni from ECC

Nuvola 09 lounge chair for Gervasoni (2009)

Available locally from ECC

The iconic Nuvola 09 Lounge Chair by Paola Navone for Gervasoni epitomises comfort and sophistication. Crafted with a multilayer and solid wood frame, this chair offers durability and stability with upholstery in differentiated density polyurethane foam, designed to provide luxurious cushioning for a truly relaxing experience. The removable covers, adorned with goose down and polyester fibre quilting, enhance this chair’s versatility and ease of maintenance, while Navone’s characteristically bold design makes it a statement piece perfect for modern living spaces.

Plissé H103 by Paola Navone for Midj from Sarsfield Brooke

Plissé H103 for Midj 

Available locally from Sarsfield Brooke

Elegance and versatility collide in the exquisite Plissé H103 design by Paola Navone for MIDJ. With a base crafted in lacquered metal, suitable for both indoor and outdoor settings, it offers practicality without compromising on style. Inspired by the world of fashion and the timeless appeal of pleated workmanship, Plissé exudes sophistication with a hint of playfulness. Available in various versions, including dining tables and high bar tables, its pleated motif adds depth and dynamism to any space, making it feel at home in both private and public settings.

Baggy by Paola Navone for OTTO Studio

Baggy for OTTO Studio (2023)

Designed by Paola Navone for the multi-disciplinary design studio she founded, Otto, Baggy is more than just a light fixture — it is a whimsical and informal statement piece. Inspired by oversized pants, Baggy features a unique composition of individual modules, offering endless possibilities for arrangement. Its satin polycarbonate diffuser mimics the appearance of crumpled paper, while a soft textile cord adds a touch of refinement.

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Property Developer, Chris Meehan

We sit down with property developer Chris Meehan to talk patience, passion projects, and designing for the future

As the founder and CEO of Winton, one of New Zealand’s most prolific property development companies, Chris Meehan is someone who has taken the responsibility of shaping the future of our urban landscapes in a very meaningful way. From his early childhood on a rural South Island farm to his formative years building a property empire in Sydney, to now, undertaking some of the most significant residential, commercial and hospitality developments in the country, Meehan is a man with vision, ambition and the ability to execute a number of eye-watering projects with a level of finesse and careful attention to detail that is rarely seen. And while his success is undeniable, for Meehan, the driving forces behind it are simple: a passion for design and a desire to build for the future.

It was a deep love for design that first drew Chris Meehan into the competitive world of property. Having once harboured dreams of becoming an architect (although eventually deciding to pursue his passion from a different angle) Meehan knew from a young age that creating spaces in which people could not only live, but could truly thrive, was the pursuit that would drive his career. And that is exactly what he, as the CEO of New Zealand’s most prolific property development company has gone on to do. (Although whether he could have predicted the immense scale at which his spaces would materialise, is another question entirely.) 

Meehan was born in the small South Island town of Winton (the name he would eventually give his development group) near where he spent the first 11 years of his life on a farm before his parents parted ways and he moved to Sydney with his mother. Living in a much bigger city but with far fewer resources at his disposal, Meehan explains that while the challenges were certainly greater, the opportunities for those willing to pull themselves up by their bootstraps were abundant, and he wasn’t going to miss his chance at building something better. “We had nothing,” Meehan tells me in his straightforward manner, “so I figured that the only way to get what I wanted was to work my ass off, and that’s pretty much what I’ve done ever since, it really isn’t any more complicated than that.”

Granted, from an outsider’s perspective it does feel a little more complicated, given Meehan’s incredible rise from young Kiwi expatriate to trans-tasman property mogul. Although the core tenets of a dedicated work ethic, an expansive vision and plenty of ambition have clearly remained the potent mix underpinning his success. 

Back in 2000, Meehan founded Belle Property in Sydney, a company he built by selling high-end, design-led homes and bolstered through a clever association with (at the time) Kerry Packer’s glossy interiors publication of the same name and branding (a title he eventually acquired). As a young up-and-comer in the industry, it was a bold move, and one that not only gave Meehan’s business a competitive edge, but that offered early proof of the entrepreneur’s ability to think outside the box, and of his desire to build businesses with quality and pedigree as their bedrock. But while Belle was undeniably successful, it was never Meehan’s end goal, with the developer explaining how, after selling the company in 2009, he turned his focus to Winton, planting the seeds for something that would see him undertaking projects of a far greater scale.

“For Meehan, the process of building Winton has been purposeful and painstaking, a path paved by the developer’s characteristically patient approach.”

“Belle Property, was a great place to start because it was very much a design-led business where we specialised in the sale of designer property and we also had the magazine, so that was a niche that we really owned in Australia,” Meehan explains, “but it was a means to an end for me,” he pauses, “a good means and a good end, but the big-scale projects that I’m doing with Winton now… nothing compares.” 

For Meehan, the process of building Winton has been purposeful and painstaking, a path paved by the developer’s characteristically patient approach. This has not only allowed Meehan to grow his business sustainably, but has reduced (or virtually eliminated) his reliance on banks or borrowed capital, keeping Winton in an undeniably strong position, unhampered by debt. “When I sold Belle, we didn’t have a huge amount of capital but we had enough to start some smaller projects,” he tells me. “As we went on, we just kept reinvesting our profits and eventually the projects grew in scale, and now, 15 years on we’re building towns.” 

This is not hyperbole. Winton’s developments are known for being eye-watering in scale, often encompassing hundreds of residential buildings, a commercial or hospitality hub and a variety of public spaces. They are also unparalleled in their attention to detail, each project boasting the kind of high-quality, timeless design that one might expect to find in a premium single dwelling, but certainly not reproduced en masse and without compromise. “We put about 10 times as much thought into the design of our projects than any other developers would,” Meehan tells me, explaining how he spends most of his working hours with Winton’s design team, going through every inch of his projects meticulously. It is, he tells me, the part of his job he loves the most. “I’ve always thought, in my business,” Meehan suggests, “that if I can just get the product right, like really right, then the money will flow from there.”

It is certainly a unique approach for someone operating at the top of an industry in which profit is often the chief driver — an attitude that wouldn’t usually leave room for the kind of detail on which Winton has built its reputation. But if Meehan’s formula has proven anything, it is that good design is timeless and quality will, as he predicted, always sell. “We’ve got enough sitting in our landbank now for about 7,000 lots,” Meehan reveals, “and we’re always buying more. We like to keep about 10 years of runway ahead of us.” 

Ayrburn, Winton’s sprawling new hospitality precinct outside of Arrowtown

One particularly spectacular example of Winton’s unique handiwork is Ayrburn, a sprawling new hospitality precinct that opened late last year on a piece of historic land just outside of Arrowtown. Comprising a series of dining and entertaining venues (with still more to open), sweeping gardens, public spaces and a series of residential developments to come, Ayrburn has not only been one of Meehan’s most ambitious projects, but is also the one, he reveals, he has enjoyed working on the most. “We bought the property in 2015, so it’s been a nearly-10-year process bringing it to life,” he says. “But it’s probably been the most fun I’ve ever had on a project,” he pauses. “I know that I won’t find another piece of land like that in my lifetime, one with a rich history, 160-year-old trees, a beautiful creek running through it, historic buildings framed by mountains and a close proximity to such an iconic town… it has definitely been a passion project for me, and I’m so proud of how it has come together.” 

Indeed, Ayrburn is a striking showcase of Winton’s extraordinary vision and unparalleled execution. Its generous grounds have been manicured to perfection, with Meehan explaining that in time, they will grow to become one of the most jaw-dropping botanic gardens in New Zealand. Its historic buildings (despite being already existing on the property) have each been painstakingly rebuilt by specialised tradespeople who spent years ensuring that they would be fit for purpose (and adhere to modern building codes) while remaining true to their century-old provenance. Really, you only have to drive through Ayrburn’s understated entranceway to immediately understand how it truly stands apart as a development that has been designed for the future. For me, it brings to mind the old adage of a society growing great because of those who plant trees in whose shade they will never sit. Only time will show the true potential of what has been created there.

But Ayrburn is just the first in a series of exciting new projects by Winton where hospitality is at the heart; precincts in which premium residential developments and food and beverage offerings have been designed to go hand-in-hand. For Meehan, this is simply an extension of Winton’s more holistic development model; a reflection of its long-standing commitment to combining residential offerings with commercial hubs in order to offer lifestyle with longevity — something that goes well beyond nice new buildings alone. 

On entering the hospitality space in such a significant way, Meehan explains that his philosophy is simple: “You’ve got to have an incredible location, you’ve got to be in the sun, and you’ve got to be near some kind of water,” he says. “If you get those three things right then you have the foundations for an incredibly successful hospitality offering.” And while Ayrburn, of course, ticks all of those boxes, there’s another major project currently taking shape a little closer to home that is promising to not only reimagine Auckland’s Wynyard Quarter precinct, but also, to completely change the ways in which we will be able to enjoy our waterfront. 

Winton’s Cracker Bay precinct, overlooking Auckland’s sparkling Waitemata Harbour

Cracker Bay, set on a sprawling section of prime, waterfront real estate, is the expansive new hospitality precinct that Winton is currently underway with. When finished, it will comprise a series of hospitality venues, from grab-and-go eateries to formal restaurants and a spectacular event space overlooking Auckland’s sparkling Waitemata Harbour, as well as a private members’ club and a public walkway that will allow more people to take in the stunning vistas of Auckland’s waterfront. In what I am coming to understand as Winton’s modus operandi, it seems that no detail here has been left to chance, with Meehan explaining that, in honour of the site’s history, many of the existing heritage buildings will be carefully reconstructed, and that because of its positioning, Cracker Bay will offer something utterly unique in Auckland. “It’s west-facing so not only will it be bathed in sun but it will be sheltered from the wind, and we’ve called on some really clever people from all over the world to run it for us so it’s going to be a fun place,” he tells me, with a twinkle in his eye. 

Really, Meehan is in the business of changing the ways in which people live. Not just where they live, but how. Cracker Bay, while incredible as a standalone project, is actually part of a much larger vision that will marry its vast and varied hospitality with a luxury apartment development across the road called The Villard and alongside that, another new offering that is reimagining the idea of life after retirement — Northbrook.

Winton’s luxury apartment development, The Villard

“When we looked at the demographic of New Zealanders who were a little older and who had lived with luxury goods and services their whole lives, they weren’t generally the bingo-and-bowls types,” Meehan tells me, with a chuckle. “We saw a big hole in the market for a residential concept that would flip the idea of retirement on its head, and so, Northbrook was born.” 

Offering what Winton has called ‘luxury later living’, Northbrook is a series of residential developments that not only provide older New Zealanders with a beautiful place to live in their twilight years, but promise an idyllic lifestyle for those seeking something more sophisticated for their retirement. From impeccably designed apartments that have been fitted with subtle additions to make living easier, to elevated social spaces, including restaurants and bars, in which residents can mingle, to ensuring that the developments’ locations are only a stone’s throw away from Winton’s other new hospitality precincts (including Cracker Bay and Ayrburn), Northbrook seems the only retirement concept in New Zealand that is actually responding to the needs and desires of its target demographic, and it’s a space in which Meehan is predicting incredible growth over the next few years.

“Meehan is a developer whose passion for his work permeates everything he does, creating better, more desirable and certainly more liveable spaces as a result.” 

“Already the uptake for Northbrook has been really strong,” the developer says, “and most of the people who are buying into these apartments are the kinds who swore that they would never consider a retirement home.” He continues, “but really, that’s just a reflection of how we’re doing things so differently… it will be like moving into a luxury hotel with your mates,” he smiles, “who wouldn’t want that?”

Indeed, the potential that Meehan sees in his Northbrook concept is clear in his commitment to its growth, with sites already underway in Auckland’s Wynyard Quarter and Launch Bay, as well as in Wanaka and Arrowtown, and in Christchurch’s Avon Loop, too. “The retirement business will be a significant part of our overall portfolio in five years time,” he tells me, “and while we’ve got five in the works now, we see demand for between 12 and 15 Northbrook retirement developments up and down the country in the coming years.” 

Winton’s idyllic Northbrook in Launch Bay

This focus on larger, more ambitious projects that will allow Winton to hone its expertise on one area is something that Meehan says is his goal. “We’ve got about 26 projects on the go at the moment but I’d like to get that down to about a dozen,” he says. “We do those big ones so well that I think they should be our primary focus.” 

One such project that Meehan outlines as a major focus of his going forward is Sunfield, a groundbreaking development in Papakura that will literally conjure a township out of thin air. Sunfield will boast around 400,000 square-metres of commercial space and some 5,000 new (and affordable) homes. It will offer a radical new approach to living that hinges on the idea of people not wanting to spend hours commuting everyday and as such, the Sunfield neighbourhood will be designed for those who work and live within its boundaries, with Winton creating all the amenities that a typical township might need, from supermarkets to schools to public parks, playgrounds and more. It’s a fascinating concept, and one that will require the next 15-or-so years to bring to fruition. If, that is, it can survive the daunting process of procuring consents to go ahead.

Unfortunately, the fact remains that in New Zealand, much of Meehan’s job as a developer involves a seemingly endless barrage of bureaucratic challenges and nonsensical red tape that can stymie creativity and growth from the outset. It’s something about which the developer is very vocal. “In New Zealand, we’ve gone from this number-eight-wire mentality to what feels like ‘10 reasons why you can’t do something,’” he says. “The bureaucracy is out of control here and there’s no reason for it.” He continues, “at the moment, collectively, we only build on one percent of our landmass, and yet we’re facing a housing crisis,” he pauses, “It doesn’t make sense.”

In almost all of his projects Meehan has had to overcome opposition from local councils and face court cases in which he has had to prove himself to the powers that be, showcasing again and again the ways in which Winton is developing for the future, how it is creating better spaces for us to live and work and play in, and how, at its core, its ethos is about honouring the beauty of New Zealand with developments that will stand the test of time. “I have an incredible team of the very best people around me,” Meehan says, “and I guarantee that if you asked around my office, the only thing they would say they found frustrating about their work would be the bureaucracy, I can only hope it changes soon.” 

The truth is that what Meehan has achieved with Winton is already changing our landscapes and lifestyles in significant ways. From the incredible sites he secures, many of them central to our enjoyment of a particular city or town, to the integrity with which he designs, refusing to cut corners or leave any detail to chance, Meehan is a developer whose passion for his work permeates everything he does, creating better, more desirable and certainly more liveable spaces as a result. 

In an industry that can get a bad rap for developing sites with a ‘profits over people’ approach, Meehan and his team are proving (in a big way) that by putting people first, by taking the time to understand how they want to live, and by offering something that is high quality, luxurious and lasting, profits and growth tend to follow. And while his success in this space is undeniable, it’s never been Meehan’s chief driving force. “I feel like I get to come to work everyday and do my hobby,” he tells me, smiling. “Being able to design something beautiful, something that inspires me, and then to bring it to life and watch others enjoy it, that’s all I’ve ever wanted to do, and it’s pretty satisfying.”

Design

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Nature and nostalgia collide in this striking residence set in the picturesque Dandenong Ranges

In creating Red Crest House, the architects at Dion Keech, aided by Loopea Design Studio and interior expert Simone Haag, dreamt up a warm, inviting and inherently liveable contemporary residence, where nature is integral to the design. 

Nestled amidst the picturesque Dandenong Ranges in Victoria (just outside of Melbourne), the Red Crest House is a beacon of architectural balance and careful design. Here, a mid-century-modern architectural code is married with a series of contemporary spaces, where every part of the home capitalises on the captivating allure of its breathtaking natural landscape. Overlooking a pastoral valley, with views that aren’t revealed until one steps over the threshold, this architectural marvel exudes an undeniable nostalgic charm while exquisitely capturing the essence of its surroundings, and is a haven of cosy, private domesticity (albeit with an undeniably unique design). 

“Warm and textural, the interior has been painstakingly designed to evoke a sense of tranquillity and relaxation, finished with an overarching colour palette of earthy hues and materials.” 

Set on a rolling hillside, Red Crest House unfolds gracefully, its elongated shape harmonising with the undulating terrain. Here, it seems, architecture and nature have been made to converge seamlessly, where a verdant backdrop of majestic gums serves not only as an arresting panorama but also as a catalyst for accentuating the home’s mid-century silhouette.

Inside, a series of carefully curated spaces complement the architecture. Warm and textural, the interior has been painstakingly designed to evoke a sense of tranquillity and relaxation, finished with an overarching colour palette of earthy hues and materials like hand-cut tiles, honey-toned timber, buttery leathers, brass, linen and cork, set against geostone concrete floors, Fibonacci Freckle terrazzo and terracotta aggregate. The risks that the design teams at Dion Keech and Loopea Design Studio were able to take here, from using bold geometric patterns and highly-tactile material finishes to the focus on patinas and natural expressions over overt embellishment, clearly paid off, and created a unique canvas on which Simone Haag could, as the final step, leave her distinct mark. 

Nowhere is the design ethos of this home as clear as in the open-plan kitchen and living space. Surrounded by expansive windows, an impressive stone-clad fireplace takes centre stage, while a cleverly sunken lounge brings residents to the same level as the earth outside, which has the compelling effect of drawing nature in. In fact, this was something that interior designer Lisa Luppino endeavoured to do in every aspect of Red Crest’s interiors — forging a strong connection between the home and its natural surroundings via meticulous materials and spaces that maximised the environment. 

“Simone Haag was brought in for the final styling and decorative touches, creating balance between the home’s mid century modern vibe and the contemporary requirements of its residents.”

Renowned interior expert Simone Haag was brought in for the final styling and decorative touches, creating balance between the home’s mid century modern vibe and the contemporary requirements of its residents. Through a selection of carefully sourced, vintage pieces (including a Morentz coffee table found in the Netherlands that mirrored the hues of the landscape, a shelving unit from eModerno that worked to showcase the owners’ records and curios, and a series of Japanese pendants), alongside a variety of new additions too, Haag was able to bring depth and personality to Red Crest’s array of spaces, elevating their material palette with a more curated, bespoke feel. Again, she also played on the idea of bringing the natural world inside via abundant foliage, used throughout the home to deepen its connection with its jaw-dropping setting. 

Ultimately, Red Crest House is a testament to the collaborative design effort that brought it to life. By honouring the land on which this home stands and celebrating its colours, textures and forms, the architects, designers and stylists have created a calm, cohesive residence that seamlessly integrates the built environment with nature. 

“Ultimately, Red Crest House is a testament to the collaborative design effort that brought it to life.”

From its clean, simple architecture to its warm, earthy interior to its perfectly put-together furnishings, all set against an Australian landscape that would stop anyone in their tracks, this home is an ode to the creative fusion of elements that, together, create a harmonious (and timeless) whole. Every aspect of this architectural masterpiece speaks to a reverence for nature and a commitment to creating spaces that resonate with warmth, authenticity and beauty, and one can only imagine the feeling of basking within this home’s transcendent beauty, as the setting sun casts a warm glow over the Dandenong Ranges.

Get The Look
Nature & Nostalgia
Avena wall light by Soho Home from Design
Central
Snoopy table lamp by Achille Castiglioni for Flos
from ECC
Supermoon sofa by Giampiero Tagliaferri for Minotti from ECC
Kingston Ice Bucket from The Studio of Tableware
KUFU TABLE LAMP from Ligne Roset
Waterford Short Stories Aras Tumblers from The Studio of Tableware
Porro voyage dining chair from Studio Italia
Coco table by Carolina Wilcke for QLiv
from ECC
Tisbury side table by Soho Home from Design Central
Arc mirror from Powersurge
Wiggle Side Chair from Matisse
A Temporary observer by Llenyd Price from Sanderson
Mate ottoman by Christophe Pillet for Flexform from Studio Italia
Assouline Jeanneret Chandigarh from Ligne Roset
Tolomeo Mega Terra lamp from ECC
Zig Zag stool by Polspotten from Farfetch
Soho Home Charis cushion from Design Central
Tom Dixon Puck Coupe glasses from ECC
Capitol Complex Chair by Cassina from Matisse
Fossil Tan by Supertextures from Design Central
Elementi Uno etch kitchen mixer from Robertson
Tom Dixon Rock candleholder from ECC
Gion coffee table by Stine Aas for Sketch from Dawson & Co
Poliform curve dining table from Studio Italia
Dancing Duo candlesticks by Fourth Street from Net-A-Porter
Kingston Bar Set from The Studio Of Tableware

Design

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Left to right: Celine Victoire bag, Celine Claude bag and Celine Heloise Cuir Triomphe bag all available in-store at Faradays Store

We explore the story behind Celine’s iconic logo, and share the Triomphe-adorned pieces to shop now

Fashion lore credits Celine’s recognisable Triomphe logo to a minor car accident in Paris in the 1970s. So what is the story behind this sought-after icon? And how has it impacted the house of Celine?

The year was 1973 and Celine Vipiana, founder of the now-iconic fashion house that carries her name, had just been in a minor collision on the Place de l’Etoile when she noticed a motif adorning the chain around the outside of the Arc de Triomphe. It was a moment that would change the visual identity of her brand forever. Fascinated by the subtle inverted ‘C’ link, Vipiana allegedly reached out to the City of Paris to seek permission to adapt the symbol as her house emblem, and soon, it was emblazoned across labels, on pieces of ready-to-wear clothing and on sought-after bags and accessories.

Celine winter 23

Known then as the ‘Blazon Chaîne’, the symbol quickly gained icon status. Not only did it represent the deep ties between Celine and the city in which it was founded but it also spoke to the maison’s intrinsic spirit of victory and resilience, respect for history and timeless sophistication. It was a subtle marker of status, embodying that simple but undeniable nod to luxury that the French do so well. And it persisted for a number of seasons before eventually (and unfortunately) falling out of Celine’s collections altogether.

In fact, it wasn’t until fairly recently that the Blazon Chaîne was pulled from the archives of Celine to be given a new life as the ‘Triomphe’, gaining fresh meaning in the context of contemporary, 21st Century fashion, and bridging the gap between Celine’s rich history and its hugely impactful role as a forward-thinking player in the industry today.

Celine Victoire bag available in-store at Faradays

Back in 2018, when Hedi Slimane took the reins of Celine, the designer meticulously studied the maison and its origins in search of inspiration for his creative direction. There, in the brand’s archive, he realised that he was sitting on a piece of fashion gold; a symbol that hadn’t been utilised in nearly five decades, but that spoke perfectly to the unique vision that Slimane was bringing to this storied brand.

“The Triomphe emblem offers a perfect balance between the history of Celine… and the idea of commercial iconography that creates sell-out items each season.”

In Celine’s Spring 2019 show, titled ‘Paris La Nuit’, Slimane reintroduced the logo as the ‘Triomphe’ and adorned a series of simple, chic handbags with the icon as a gold clasp, a move that not only reinstated its standing as one of the maison’s central motifs, but that marked the start of what can only be described as the Triomphe era. Truly it was a pivotal, full-circle moment for Celine. The Triomphe exemplified Slimane’s sophisticated eye, as well as his commitment to honouring the brand’s history while anchoring it firmly within the contemporary landscape. With the Triomphe, the designer managed to both reaffirm Celine’s status as a leader in the luxury field, and remind everyone of the richness of its past.

Celine Triomphe cap available in-store at Faradays

It also, almost immediately, birthed a new ‘It’ bag. Very quickly, Slimane’s Triomphe design became one of the fashion set’s most sought-after styles, and since its introduction in 2019, its cache as a coveted symbol for luxury and refined design has only continued to grow.

According to Constance von Dadelszen, Creative Director of Faradays (the exclusive New Zealand stockist of Celine ready-to-wear) the brand’s Triomphe pieces, particularly accessories like belts, and any clothing that features the logo will sell out as soon as they hit the store, von Dadelszen explaining how the Triomphe speaks to such a wide cross-section of their customers and can look as modern as it can classic, depending on who is wearing it and how it is styled. “I think the Triomphe emblem offers a perfect balance between the history of Celine (I have a number of early-era Celine vintage pieces in my collection which feature the marque), and the idea of commercial iconography that creates sell-out items each season.”

Chic, timeless and imbued with history, Celine’s Triomphe logo is more than just an undeniably successful selling point for the brand. It is a symbol of Celine’s values, a representation of its Parisian origins and a testament to the ways in which Hedi Slimane’s clever creative strategy continues to drive the brand forward.

Denizen’s
Seasonal Picks
Celine CROPPED SHIRT from faradays
Celine HELOISE CUIR TRIOMPHE BAG from faradays
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Celine TRIOMPHE cap from faradays
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Celine CHAIN SHOULDER BAG CLAUDE from faradays


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We talk to Kiwi actor and director Rachel House on her incredible, enduring career, how she selects roles, and what the future holds

When an actor can play supporting roles with the kind of impactful presence one might expect from a lead, it points to a rare talent. An art within the form, this ability to deliver a few simple lines in such a way as to both enhance a scene and bring depth and dynamism to a character that might otherwise fade into the background is reserved only for masters of the craft, and Rachel House is undoubtedly one. Here, we sit down with the renowned actress and director as releases her first feature film, to talk about her craft, her career and why calling on diverse voices is so important for the future of her industry.

You might recognise House from her many film appearances as characters like Shilo in the Academy-Award-winning Whale Rider, Paula Hall in Hunt for the Wilderpeople (opposite Sam Hunt and Julian Dennison), or Topaz in Thor: Ragnarok. Or, you might be more familiar with her voicework in globally-renowned animated films like Disney’s Moana and Soul, or even her notable appearances in popular television shows including Heartbreak High and Our Flag Means Death. House has, after all, been working at the top of her game for decades, and her resume is as much a testament to her acrobatic range as it is to the gravitas she brings to any project, whatever the scope or screen time of her character. 

Left to right: Terrance Daniel, Director Rachel House, Elizabeth Atkinson, Reuben Francis in front of Maunga Taranaki on set of The Mountain

But it would be a mistake to limit our understanding of House, or her career, to only the notable supporting characters she has played (although she does play them so well), and a shallow reading of her contribution to the landscape of film and television in Aotearoa. Because while House has been a fixture on our screens for many years, she has also operated behind the scenes for a number of projects which is now culminating in the release of her first feature film, The Mountain, a directorial debut that is heartfelt, moving and an ode to House’s unique creative vision and passion for telling stories that matter.

This impetus to engage with her work in a meaningful way has long been a theme of House’s trajectory. Raised by parents who loved and consumed the arts, despite neither one working in them specifically, House tells me that she never saw herself in a career outside of the industry. “At one point I talked about being a lawyer or a journalist,” she tells me, “but then I realised that I probably just wanted to play a lawyer or a journalist… I can’t imagine doing anything else,” she pauses, “It’s deeply ingrained.” 

In her early years in Whangārei, House was part of a homegrown theatre company, Toy Box Theatre before heading to Wellington’s Toi Whakaari to hone her dramatic skills. It was a time in her life that, she says, cemented “her calling”, and saw her make connections with peers that would not only remain throughout her career but that, in some cases, would propel her forward significantly. One such person was Taika Waititi. Anyone familiar with House’s body of work will know how many projects she has undertaken with Waititi since his 2007 feature, Eagle vs Shark. In fact, it could be argued that this particular duo has cultivated one of those famous showbiz partnerships — a relationship built on shared creative fulfilment and a deep respect for one another’s skills and methods. 

Left: Rachel House as Topaz in Thor: Ragnarok. Right: Rachel House as Paula Hall in Hunt for the Wilderpeople

“It’s been a real privilege to witness Taika’s remarkable rise and to also work on a number of projects with him,” House tells me. “You know, it makes such a difference having people who are like family around you, people who you can rely on and that you know you work with really well.” Across her career, House has featured in a variety of Waititi’s films, from Eagle vs Shark, to Boy, to Hunt for the Wilderpeople and notably, Thor: Ragnarok in which, as Topaz, the staunch henchwoman to Jeff Goldblum’s Grandmaster, she made her mark on what is now a major Marvel Studios franchise. “There were moments on that set when I was going, ‘okay woah this is happening’,” she tells me, with a laugh. “But you get used to that pretty quickly. You realise that all these celebrities that are touted as ‘elite’ are actually just nice people.” 

“The move to tell more diverse stories is amazing, and people clearly want to see them, but we still have a long way to go, and we need the right voices behind the scenes too… that’s how we really start to learn about each other.” 

In her role as Topaz, House truly shone opposite Goldblum, her quick humour and ability to improvise working as the perfect counterbalance to her co-star’s famously fluid and campy manner. “Working with Jeff was like working with jazz,” House explains (much to my delight). “He embodies that unpredictable, musical rhythm, he’s up here, then he dips down and you have to be in it with him… it’s wonderful and surprising and keeps you on your toes.” 

In the hands of a lesser actor, I am sure that her character could have been relegated to the ranks of strong but forgettable supporting roles that prop up much of the Marvel Cinematic Universe. But with House in the driving seat, Topaz took on a presence that extended well beyond her role on paper, turning a line as simple as “burnt toast” into a moment that could still elicit a giggle long after the film’s credits had rolled. “It helped that it was T [Taika] directing,” she says, “because I felt comfortable taking risks.” (Although I would argue that it’s also House’s ability to work collaboratively, and her willingness to play with timing that contributed most to her success in this role, and indeed in much of her work before and after it.)

It also has a lot to do with instinct. As House tells me, one of the most important things she has learned from her years in the industry is the importance of a director giving their actors space to work. “To direct a performance, you’ve really got to trust your actors and leave them alone,” she tells me, “I usually do my best work when I’m just left to do it, because there’s a confidence that comes with that.” I suggest to House that perhaps the reason she has been drawn to more supporting roles over her career is because they afford her more space than a leading role might. She pauses, “Wow, you’ve kind of blown my mind a bit there… yeah, you might be right.” 

That said, House explains that she is also drawn to roles that offer meaningful character arcs. To her, it doesn’t necessarily matter how many scenes she is in or how many lines she has, only that the person she is playing starts in one place and finishes in another, and that there is a real story there. It’s also about content and context. “We’re living in a pretty different place to when I first started out in this industry,” House tells me. “Being a Māori woman, there really wasn’t a lot out there for me when I was younger, and now I think there’s more emphasis on other kinds of stories being told, whether it’s in the realm of sci-fi, for instance, which can be culturally ambiguous and open up opportunities for everyone, or in more culturally specific stories, which are also important, and really satisfying to see.” 

House has played a significant role in this change, too. Her projects (particularly the ones she has undertaken with Waititi) have, over the years, given more visibility than ever to aspects of her culture that were very rarely represented on screen. They have also given her the platform to advocate for putting the right people behind the scenes too, making room for other voices to be heard within the industry at large. “I was recently reflecting on a project that I did a long time ago where the director should have been Māori,” she says, “and I don’t think that happens as much anymore.” She pauses, “the move to tell more diverse stories is amazing, and people clearly want to see them, but we still have a long way to go, and we need the right voices behind the scenes too… that’s how we really start to learn about each other.” 

One project House tells me she was particularly proud of was Moana, the animated mega-hit from Disney in which she voiced Gramma Tala, the wise and eccentric grandmother of the title protagonist. “Seeing pictures of this young Polynesian girl with amazing muscular calves and strong broad shoulders on the backs of buses and on billboards was so exciting to me,” she says. “Disney is such an institution, we have all grown up with it, so it was very satisfying to have a story like ours become a part of that canon… the next step,” she says with a glint in her eye, “is to ensure that future projects like Moana are Polynesian-run.” 

Rachel House attending the red carpet premiere of Moana

For House, this desire to create a more diverse landscape in the dramatic arts has long been a driving force. In 2012, she directed the first te reo Māori version of Shakespeare’s Troilus and Cressida for London’s Globe Theatre — a challenging but, House tells me, incredibly rewarding undertaking that she executed with her characteristically thorough approach. Other theatrical projects she has directed (with much acclaim) include the award-winning Have Car Will Travel and 2013’s Hui for the Auckland Arts Festival — among many others. Now, House has transitioned her years of stage directing into her first feature film, a debut that is not only the culmination of her experience but a project that also reflects her cultural sensibilities in a humorous, heartfelt and deeply sensitive way. 

“House’s latest project is just the start of an exciting new chapter for this artistic multi-hyphenate, whose move into feature film directing could open a number of doors for new ventures in the coming years.”

The Mountain follows the story of Sam, a young Māori girl suffering from cancer who, with two intrepid friends, embarks on a journey to connect with her culture and what she sees as her mountain — Mount Taranaki — discovering the healing power of friendship and adventure on the way. “I’m often sent scripts but I don’t usually connect with them like I did with this one,” House tells me. “I could see how well it would work if I was to infuse it with our culture, so I reworked it to include Maunga Taranaki and then the characters and intentions all changed around that,” she pauses. “It took a couple of years to get it all right but I am really proud of what it has turned into and the people involved have been amazing… they really cared about the story and they cared about the kids.” Through the journeys of the three protagonists, House was able to speak to her culture and to her own upbringing, where Sam, over the course of the film, discovers more about her identity through her connection to the natural world. “Don’t take this beautiful world for granted,” House tells me when I ask about the central message of the film. “Having this story told from the perspective of kids really allowed us to tap into that sense of wonderment about nature and origin stories and the kinds of tales on which our culture has been built,” she explains, “there truly is magic everywhere, if you know where to look.”

The Mountain, directed by Rachel House

It feels like House’s latest project is just the start of an exciting new chapter for this artistic multi-hyphenate, whose move into feature film directing could open a number of doors for new ventures in the coming years. “I would really like to do a thriller,” she says, when I ask her what’s next, “like a funny thriller.” Immediately, I imagine House’s take on the classic sleuth archetype, complete with a Sherlock-esque trench, a piercing stare, sharp wits, and that dry, devastating humour we’ve come to know so well. Sounds like a movie I’d like to see.

Whatever is next for House (and she indicates that there are a number of projects on the horizon that she “really can’t talk about yet”) it’s clear that this is an actor and director who knows what she wants to say, and how she wants to say it. “At this point in my life, I just want to do things that matter to me somehow,” she says, just before we part ways. “And whether that’s a really great, rollicking, entertaining role, or another writing and directing project, I am definitely more selective, which I think is important going forward.”

For everything she has done and for everything she has yet to do, I am looking forward to watching how House continues to evolve within the industry to which she has already contributed so much. It would seem she has a lot more to say and I, for one, am all ears.

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Ponsonby favourite Farina has re-opened with a whole new space and a delicious new menu

Since Farina decided to temporarily close its Ponsonby Road restaurant at the end of last year, we have suffered from a Farina-shaped hole in our dining agenda that nothing else has quite been able to fill. Luckily, after many months and much anticipation, the delicious Italian stalwart has reopened with aplomb after an extensive renovation, showcasing a significantly revamped space and an exciting menu upgrade. “The decision to embark on this transformation was driven by a desire to enhance the dining experience for our loyal patrons,” says Farina’s Executive Chef, Sergio Maglione, “and also to be able to accommodate more customers.”

Left: Bottoni
Conetto San Daniele Pizza

When the space next door to Farina became available last year, the team seized the opportunity to expand, looking to build on what Farina had already achieved while improving the food offering and creating a more spacious and inviting environment that had a greater presence on Ponsonby Road. As Maglione articulates, “This isn’t a new Farina, it’s just improved.” He continues, “While we have reimagined the menu and the space, we wanted to retain our essence and still offer the classic Farina service everyone knows and loves.”

Collaborating with Darrelle McWilliams and Paul Izzard of Izzard Design, the Farina team embarked on a significant makeover, which resulted in a more spacious front dining room and larger bar area for customers to relax and enjoy the ‘Cucina Italiana’, as well as a large prep kitchen and improved back of house to assist with operations. In keeping with the essence of Farina, the restaurant still boasts the same front-of-house open kitchen and rear pizza bar, while the interior marries a palette of soft terracotta and neutrals with comfortable booth seating and playful artworks. During the day, the space feels refreshing and vibrant, while at night, it feels intimate and cosy — a space filled with warmth and character that is ready to welcome patrons into its comfortable environs any time of the day.

Cappellacci

Of course, at the heart of Farina is its exceptional culinary offering. And while the menu has undergone a thoughtful evolution, the central idea of serving traditional Neapolitan fare with a contemporary twist remains. Here, fresh handmade pasta and mouthwatering pizzas are still staples, while new additions such as the blue mussel corndog with nduja salsa, the indulgent ‘conetto’ (a fried pizza cone topped in various ways) and the ‘Amalfi’ dessert of lemon meringue pie sorbet, showcase how the food at Farina has been taken to the next level.

Left: Vitello Tonnato

The bar has also received a makeover, boasting an expanded selection of beverages ranging from Italian wines to artisanal cocktails. Whether you prefer a classic Negroni or a refreshing Peroni on tap, there’s something to complement every dish and satisfy every palate.

Corn Dog

Executive Chef, Sergio Maglione with the Suppli al Telefono.

Despite all the changes, it’s clear that Farina’s heart and soul remain unchanged. The restaurant exudes a lively Italian atmosphere, inviting guests to enjoy good food and company in a relaxed setting. And whether it’s for a leisurely dinner with friends or a quick bite at the bar, patrons can expect the same warm welcome and exceptional service that have become synonymous with the Farina experience.

Left: Raviolone

“It is great to be back open again,” Maglione tells me. “There is nothing better than seeing the joy on the faces of our customers, both new and returning ones, when they come in and see the new space.” With a renewed commitment to excellence and innovation, Farina is poised to continue delighting food lovers and cement its status as one of the preeminent culinary destinations on Ponsonby Road.

Opening hours:
Monday — closed
Tuesday & Wednesday — 4pm until late
Thursday to Sunday — 12pm until late

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Hellé Weston & Lukis Mac

We sit down with Lukis Mac & Hellé Weston — the Kiwi wellness experts teaching Hollywood’s most notable names how to benefit from breathing

In the last decade, breathing has become a discipline that leaders in the wellness space are harnessing with increasing precision and incredible results. From Wim Hof’s groundbreaking explorations into breath control to journalist James Nestor’s scientific immersion in breathwork (and his bestselling book about it), breathing has become an art, and mastering it has become the key to unlocking mental and physical health on an unprecedented scale. Lukis Mac and Hellè Weston are two figures who have been working in this space for years. The Co-Founders of Owaken Breathwork (and real-life partners), New Zealanders Mac and Weston are now based in Los Angeles after taking their transformative coaching around the world, where they consult regularly with some of Hollywood’s most prominent names, from Travis Barker and Kourtney Kardashian to Megan Fox and Machine Gun Kelly, as well as politicians, entrepreneurs, industry leaders and more. Strong proponents of breathwork for the ways it changed and opened up their own lives, Mac and Weston now help others achieve similarly profound results, and their growing popularity is a testament to the many benefits their techniques deliver. Here, we sit down with the duo to discuss how the key to unlocking our potential and enhancing our health is right under our noses.

Left: Hellé with Megan Fox. Right: Lukis with Machine Gun Kelly

Every morning for the last few months I have spent five minutes breathing. Quietly, eyes closed, I inhale through my nose and exhale through my mouth in a sequence of 10, then 20, then 30, holding my breath for the same amount of seconds between each set. The first time I did it, the sudden disruption to my natural breathing pattern made me panic. The second time, I felt more comfortable in the discomfort. The third time, I felt almost euphoric and now, it brings me a calmness and clarity that feels real and grounded. 

The simplicity of it is almost laughable. After all, breathing — the intake of oxygen and expulsion of carbon dioxide — is a natural and instinctive process. We do it every day, usually without thinking. So how can something so straightforward be used in such a transformative way, and why didn’t I know about it sooner? 

Breathwork has only really emerged as a recognisable wellness modality in the last few decades, although it has been around for millennia. And while its roots lie in ancient Eastern practices like Yoga, Buddhism and Tai Chi, its benefits have also been harnessed in various industries where managing stress is a requirement. (Like in the military, for instance, where techniques like box breathing are often taught to soldiers as an antidote to the environmental stressors that come with their work.) 

That said, the concept of stress management, particularly in our modern world, has become increasingly commodified, where whole industries have sprung from the pursuit of a stress-free life. More recently (and in tandem with the boom of social media) people have started to realise the profound impacts that something like a purposeful breathing practice can have on their longterm health, and this recognition has created space for breathwork to flourish, and for a number of experts to come to the fore. 

Two such experts who have built their careers on the power of breath are Lukis Mac and Hellè Weston. Partners in both business and life, Mac and Weston started their company Owaken Breathwork after years of researching, studying and experiencing various modalities in pursuit of something that would heal trauma, deliver optimised health and transform their mindsets. Breathing ticked all the boxes. 

“It’s mind blowing to see the way this practice has helped people… We get people writing to us all the time explaining how they’ve been able to release stress, find answers and just function better in their daily lives .” 

For Mac and Weston, the interest in holistic wellness sprung from upbringings in which mental health was an issue; first, in the adults who raised them, and then, in themselves too. Both grew up in West Auckland, and while Mac describes his mother as very loving, encouraging and supportive, it was his father’s episodes of depression, anxiety and addiction issues (leading to him tragically taking his life when Mac was only seven years old) that left a lasting legacy. “Growing up, I didn’t really know how to process my emotions,” Mac tells me, “so I ended up struggling with depression and anxiety myself for years.” Weston tells a similar story. “My family had a lot of mental health challenges too,” she says, “and there was this stigma around seeking help, where going to any kind of therapy was frowned upon.” 

When the pair first came together in 2007 (at the time, Mac a tattoo artist and Weston a fashion stylist) it was the shared desire for deeper understanding that connected them, and the ensuing journey of self discovery that strengthened their, now 17-year relationship. “We were reading books, trying different therapies, travelling and studying holistic modalities for over 10 years,” Mac tells me, before Weston jumps in, “and when we first started, it was pretty weird.” They laugh. Indeed, the idea of ‘natural health’ was, until fairly recently, thought of as too fringe for most, with Weston explaining that even the couple’s close friends and families didn’t initially understand what they were doing, or why. “Finding each other was so important, because it gave us permission to finally make these kinds of practices part of our everyday lives, and to be more open about them with other people.” 

Left: Lukis training Jake Paul. Right: Hellè during an Owaken Breathwork session

While travelling in Bali, the seeds for what would eventually become Owaken were planted when Mac and Weston had their first experience with breathwork. It was transformative. As Mac tells me, “For so many years I had lived in a state of survival, stress and struggle that was dictating my life, and breathwork allowed me to open up to my emotions, to connect the dots of what I was feeling and to deal with past experiences that I hadn’t been able to process. It was the start of when everything changed for me… the anxiety and depression I had been dealing with for as long as I could remember were suddenly no longer a part of my life.” 

According to Mac and Weston, the effectiveness of breathwork can be attributed to its “bottom-up” approach. “With more traditional therapy,” Weston explains, “we’re processing things consciously and intellectually and then dealing with the emotions after, whereas in breathwork, we start with the body which allows things that have been stored, that you might not even realise are there, to come to the surface and be addressed.” In this way, breathwork (particularly the kind practised by Mac and Weston) is a somatic therapy, which is the classification for treatments that focus on the body, built on the idea that our bodies’ tendencies to trap emotions and experiences can lead to debilitating conditions when left unaddressed. To the uninitiated this might sound a bit abstract and confusing, but underlying it all is a simple call for us to connect with ourselves on a deeper level, and the results are astounding.

“It’s mind blowing to see the way this practice has helped people,” Mac says, “We get people writing to us all the time explaining how they’ve been able to release stress, find answers and just function better in their daily lives.” Here, Weston adds, “I mean, we’ve all got something from our childhoods that we need to process, right? And I think you can spend years in therapy and never get to the root of that.” She continues, “I often get people saying that they haven’t been able to cry in years or even decades,” she says, “and then, through our breathwork, they can finally access grief or pain and release it… it’s really beautiful to be able to facilitate that process.”

Lukis with Travis Barker

In 2017, the duo founded Owaken Breathwork, pulling from their vast knowledge and experience to help people around the world. And what started as a few events in Australia quickly blossomed into an international movement. Now, the pair (and their business) is based in Los Angeles where they have become widely sought-after by big names in Hollywood for their breathwork events and private coaching. Mac’s one-on-one work with Blink-182 drummer Travis Barker, for instance, has been credited as a key reason why the famous musician was able to fly again, having sworn off planes for 13 years after surviving a horrific crash in 2008. The night before Barker’s first flight in over a decade, Mac was on hand to run him through a breathwork session that made the experience “the easiest ever,” according to the artist, who also told Nylon magazine and Rick Rubin on his podcast Tetragrammaton, that his sessions with Mac have not only allowed him to go deeper into his subconscious but that mindful inhalation and exhalation makes him “laugh, cry and feel high.” As Mac explains, “Travis was really able to heal his relationship to what he had been through, to not only start flying again but to start playing music again and touring, which was massive for him.” 

“People are watching those that they admire or idolise prioritising their own health and wellbeing…it’s changing the paradigm around what is considered ‘normal’ and encouraging people to try something new.” 

It was massive for Mac and Weston too, whose associations with figures like Barker and his wife (Kourtney Kardashian) gave the duo a profile that suddenly saw them inundated with requests. It put their work on the world stage, and crucially, gave other people permission to embrace breathwork as something that might be able to help them, too. “The biggest area where we’re seeing the needle move is around social media and popular culture,” Weston says. “People are watching those that they admire or idolise prioritising their own health and wellbeing, from actors and musicians to athletes and entrepreneurs, and it’s changing the paradigm around what is considered ‘normal’ and encouraging people to try something new.” Mac and Weston’s work has also been buoyed by a collective, post-Covid realisation of the importance of self-care and of eschewing burnout-inducing routines and the kind of corporate culture that once, was so celebrated.

In fact, a lot of the work that Mac and Weston do is as much about a collective experience as it is an individual one. It functions on a number of levels. In Owaken’s events, the duo holds space for a vast number of people in a single room, guiding them through a series of intensive breathwork techniques for four hours, and watching incredible breakthroughs on a mass scale. While in one-on-one sessions, Mac and Weston work with their clients for around two-and-a-half hours, and it’s a more personalised experience. “With Owaken, there’s the therapeutic work, which is more focused on emotional detox in intensive sessions,” Weston explains, “and then there’s the daily maintenance work, which can be anywhere from five to 30 minutes a day which can be mindful breathing, meditation, journaling… and both are as important as each other.” 

Lukis & Hellé

Alongside their events and in-person sessions, the pair have launched an Owaken app that has been designed to encourage and support daily practice, and also give those who are curious about the work a good place to start. For Mac and Weston, a typical day might begin with their Owaken Daily five minute breathing (the same one that I have been doing every morning), before going into a 30-minute meditation, a journaling practice, a cold-plunge and sauna session, a workout and then a walk. And that’s before the working day begins. “It sounds intense,” says Mac, laughing, “but it’s become a non-negotiable for us, and I really notice a change when I’m travelling or out of routine.” 

Beyond the routines and techniques and practices, what Mac and Weston are really doing with Owaken is to remind us all of our vast capacity for change. “Watching over and over again how the lives of the people can transform through something as simple as breathwork, really solidifies how powerful we are as human beings, and how we can create positive change in our lives,” Mac tells me. Weston adds, “Working with the breath, you quickly realise that we have this incredible tool right under our noses… it’s natural, you can do it for free and it can lead to rapid and profound healing, and I just want more people to know about it.” 

Given Owaken’s evolution, it would seem that people do want to know about it. In fact many people, including myself, are more open than ever before to exploring alternative avenues of health, thanks to the work of practitioners like Mac and Weston and their growing visibility in popular culture. And if my personal experience with an easy, five-minute daily practice is anything to go by, it truly is the simplest way to affect real, lasting change. “Think about how we tell ourselves or the people we care about to ‘take a breath’ in moments of distress or crisis,” Weston says, “we all intuitively know how good breathing is for us… it’s just deepening our relationship with that instinct, and harnessing it properly.”   

So whether you’re someone who is searching for answers, craving change or is simply curious, Mac and Weston’s breathwork is certainly one path to achieving calm in the face of the relentlessness of modern life. Sit back, take a breath and see for yourself. 

owaken.com

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Attention art lovers — the Aotearoa Art Fair kicks off this week; here’s everything you need to know

The highly anticipated Aotearoa Art Fair is set to kick off on the 18th of April and given that this year’s iteration marks a change in ownership and location (with the Fair now based out of Viaduct Events Centre), we are more excited than ever to immerse ourselves in some of the best art and artists from New Zealand and around the Pacific rim.

Robert Jahnke, Ikura Manawa Whero (Bleeding Heart), 2023, PAULNACHE

As far as the official programme is concerned, this year’s Aotearoa Art Fair comprises a vast and varied line-up of events and exhibitions that you really don’t want to miss. Alongside the main Fair within the Events Centre, filled with galleries from up and down New Zealand, Australia, Asia and the Pacific, there will also be a publicly-accessible, outdoor Sculpture Space in Karanga Plaza. Set against the backdrop of Auckland’s sparkling Waitematā Harbour it will feature a number of extraordinary artists, including Terry Stringer, Chris Bailey, Virginia Leonard and David McCracken, each of whom are known for pushing the boundaries of three-dimensional work.

Milli Jannides, Where to Start, 2023, McLeavey Gallery

Welcoming visitors to the Fair will be a collaborative work by kaiwhatu / weaver Shiree Reihana and ringatoi / artist Anton Forde. Comprising six of Forde’s astounding Pou cloaked in Reihana’s contemporary Kākahu, installed in a kaokao / chevron formation, this arresting work will beckon visitors to the Art Fair with a message of welcoming, protection and profound connection to whenua and moana. Through their collaboration, Forde and Reihana are inviting all those who attend the Fair to contemplate their place in the vastness of nature and time and remind us all of the importance of working together to safeguard our precious world for generations to come. 

Inside, among the coterie of galleries taking part in this year’s Fair, attendees will find stalwarts like Sanderson Contemporary (showcasing artists like Zara Dolan, Simon Kaan and Natasha Wright), STARKWHITE, Gow Langsford, Michael Lett and Fine Arts Sydney, alongside other notable galleries like Jhana Millers (with a solo show by Hannah Ireland), Futures (from Melbourne), Redbase (bringing an intriguing programme of Asian art and artists over from Sydney) and Coastal Signs, which is making its Art Fair debut with a line-up that includes new works from Emma McIntyre and pieces by Milli Jannides, Shannon Te Ao and Ruth Buchanan.

Left: Bronte Leighton-Dore, Port de Soller, 2023, Martin Browne  
Contemporary. Right: Hannah Ireland, Up on the Mountain, 2024, Jhana Millers

In addition to the impressive gallery offering, this year’s Aotearoa Art Fair is also promising a raft of fascinating talks, performance art and immersive experiences for attendees. On the opening night, for instance, not only will renowned Australian artist Michael Zavros (presented by STARKWHITE) perform his engaging and celebratory work ‘Fifty’, in partnership with Champagne Perrier Jouët, but the New Zealand Dance Company will also present an excerpt from ‘Imprint’, part of its captivating double bill Whenua, which has been lauded for the ways in which it showcases the unique creative voices of New Zealand.

Kāryn Taylor, Reality Shift, 2022, Sanderson Contemporary

Elsewhere, visitors to the Föenander Galleries booth on Friday the 19th of April will be able to experience an interactive performance by artist 박성환 Sung Hwan Bobby Park where they can try on his reworked, ceramic bullet proof helmets (BTM bang tan mo) in the spirit of shattering discrimination and celebrating diverse identities. While on the same day, Sanderson Contemporary will present a talk by internationally renowned artist Wi Te Tau Pirika Taepa (Te Arawa, Ngāti Whakaue, Te Āti Awa), a master of Māori clay art with a career spanning over 30 years.

Over at Jonathan Smart Gallery, artist Mark Braunias will be holding an audience to discuss his new works being presented at the Fair and Emily Gardener will lead a conversation with the Four Worlds Tarot Curatorium. Here, artist Julia Morison ONZM, graphic designers Alice Bonifant and Harriet Herlund and academic Dr Anna Smith, have joined forces to create a fascinating, immersive installation that explores the power of artistic forms and materials to convey symbolic meaning. (We’ve heard that visitors can also have their tarot cards read as part of the installation.)

Grace Wright, Tending One’s Own, 2022, Gow Langsford

All of this and so much more is to be discovered at this year’s exceptional Aotearoa Art Fair, offering plenty for collectors, enthusiasts and art-lovers alike. With the full programme now available online here, and tickets available to purchase here, we suggest securing your spot at what is shaping up to be one of the best cultural events of the year.

This competition is now closed.

artfair.co.nz

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Heading south soon? The Barrel Room is Ayrburn’s exquisite new subterranean bar & event space that should be on your radar

Having emerged as the region’s beacon of culinary and hospitality excellence since its opening last December, Ayrburn has been captivating both locals and visitors alike with its fusion of heritage charm, contemporary design and exceptional food and drink. And now, the popular destination has added another layer of intrigue to its repertoire, as it proudly unveils its latest gem: The Barrel Room. 

Here, stepping inside feels like entering a hidden world, where time stands still and the promise of memorable nights abound. Set beyond a steel gate adorned with Ayrburn’s vineyard motif, The Barrel Room’s entrance is lined with 56 ageing wine barrels, setting the stage for the unique ambience that lies beyond. Located beneath the Burr Bar’s outdoor garden, this subterranean sanctuary marries cosy, thoughtful design with a sense of unparalleled privacy and sophistication. From its solid oak bar to its hand-painted mural depicting Ayrburn’s rich history, every detail here has been meticulously crafted to set the perfect scene and immerse guests in an atmosphere of opulence. 

With a grand piano as the centrepiece. The Barrel Room is perfect for any occasion; with the ability to host up to 50 guests for intimate, seated candle-lit soirees, or many more for lively late-night gatherings, and everything in between. As Ayrburn continues to redefine the boundaries of hospitality, The Barrel Room stands as a testament to providing bespoke experiences that both deliver escapism and excellence.

ayrburn.co.nz

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Natasha wears Rosso Ancora jumpsuit, Horsebit Joni platform loafers, Marina Chain necklace, Moon Side mini shoulder bag all from Gucci.

We speak to New York-based New Zealand artist Natasha Wright for the cover story of our beautiful new autumn issue

Photography by Steven Chee
Styling by Claire Sullivan-Kraus
Creative Direction by Anna Saveleva

Known for her work that explores the dichotomies of womanhood and the gender-driven power dynamics that are so perpetuated in popular culture, Natasha Wright is an artist whose message and métier has evolved in a captivating way. Living and working in New York for nearly a decade, the New Zealander has developed a distinct creative language that marries various iterations of the female form with the rich qualities of oil paint, her pieces, despite engaging with their subject in different ways, always drawing the onlooker in for their urgent brushstrokes, evocative colours, layered techniques and compelling forms. Now, on the back of Wright’s recent solo exhibition in Sydney and just as she is preparing to open another one in Auckland at Sanderson Contemporary, the artist gives us insight into her creativity, her craft and what we can expect from her upcoming show. 

Being a full-time artist in any context is a notoriously difficult path to pursue. But to work full-time as an artist in New York City, particularly as someone who wasn’t born and bred there, is another challenge entirely. For Natasha Wright, a Kiwi artist who has called New York home since undertaking her Masters of Fine Arts at The New York Studio School in 2017, embracing this challenge has buoyed and bettered her work, the City as much a source of inspiration for her métier as it is a practical place to build her burgeoning following, both in the United States and across Australia and New Zealand too.  

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“I am influenced by everything around me,” Wright explains, “so just walking down the street in New York there are a number of things that might catch my eye, the tones on a billboard, the decay in a subway station, the texture of someone’s outfit.” She continues, “But beyond that, there are so many galleries and museums here, and such a big community of artists around me that, while the actual practice of making art can be lonely, I never feel isolated, I feel part of something bigger.” In fact, Wright’s first solo show in New York came about because a friend recommended that a gallerist visit her studio, resulting in an exhibition that thrust the artist into the spotlight soon after her studies and saw her, at the time, included in Harper’s Bazaar’s ‘The Five Best Female Art Exhibitions in New York City’ — a lofty but certainly deserved accolade.

“Sometimes I look at my work and wonder, how did I get here? But for me, the female form offers so many opportunities for expression, how women are depicted…”

Back then, Wright was at the start of establishing her creative voice, gaining cut-through for the ways in which she engaged with and expressed notions of the female form — a theme that has continued to define her pieces to this day. “My subject matter has been the same since I was about five years old and obsessed with drawing and fashion magazines,” Wright tells me, explaining how she would draw with her grandmother, who was also an artist and who taught her about art history and how to respect her materials. “The female form is the common thread, although I approach it in different ways,” she says. “Sometimes it’s more abstract, sometimes more figurative, but I’ve always been interested in exploring that middle ground between vulnerability and power, between softness and aggression.”

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Indeed, it is the inherent dichotomies of womanhood, so present in Wright’s works, that make them compelling, with the artist choosing a continued exploration of femininity in its various guises as her central creative tenant (and discovering a rich wellspring of inspiration as a result). “Sometimes I look at my work and wonder, how did I get here?” Wright tells me, with a laugh, “but for me, the female form offers so many opportunities for expression,” she pauses, “whether I’m inspired by how women are depicted in advertising and fashion or women throughout history (from Mary Magdalena to The Three Graces) it not only allows me to engage with interesting concepts but also, is an incredible vessel for exploring paint.” 

Clear blue-black mini dress, Marina Chain earrings both from Gucci.
Textured jacket, Textured mini skirt, Marina Chain earrings, Jackie Notte mini bag all from Gucci.

Underpinned by urgent, broad strokes and the kind of textural application that makes you want to reach out and touch the canvas, Wright’s painterly practice imbues her pieces with an immediacy and a richness of tone that serves to enhance her subject matter. In fact, the artist has spoken in the past of how the substance of paint has become an analogy for the body, used as a metaphor to create a skin of human experience. “Colour is really important in my work,” Wright explains, “and I choose to use oil paints because they are very luscious and malleable, which is important for the way I bring my pieces to life.”

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That process, the artist tells me, starts with a series of ink drawings that allow her to play with the composition and to deconstruct the image. Sometimes she will collage these drawings or experiment with multiple versions of the same idea, allowing her to collect her thoughts more freely before translating them onto the canvas. “I usually begin painting by working through my composition with oil paint that has been very thinned down with turpentine,” Wright tells me. “From there, I build up the surface with large brush strokes and huge swathes of colour and I work on multiple canvases at once in order to keep the paintings feeling fresh and immediate.” She continues, “For me, painting is emotional, not intellectual, so I have to operate from intuition.” I wonder how she knows when a piece is finished. “It’s a gut feeling,” she replies, “I just know when it doesn’t need anything more.”

“I treat my studio time like any other job… I have to be in there working at least five days a week, sometimes more”

Lately, Wright has been experimenting with scale, telling me how being increasingly ambitious with the size of her paintings (seeing her use larger brushes and forcing her to focus on the materiality and fluidity of the paint), has allowed her to explore more complex compositions with multiple figures. It has also given her latest works a different kind of impact, and from an onlooker’s perspective, it feels like a promising new era for the artist. “My subject will remain consistent but my work is becoming more abstract,” she explains, “I want my paintings to feel rhythmic and effortless, and on a larger scale they emulate this sense of power and confidence that hasn’t been as strong before.” 

White shirt, Bright azure leather midi skirt, Horsebit Joni platform loafers, Marina Chain earrings, Marina Chain bracelet all from Gucci.
Bamboo mini top handle bag from Gucci.

In her most recent body of work, set to be showcased in a solo exhibition at Sanderson Contemporary from the 16th of April until the 12th of May, Wright has delved into the significance of the female body as an icon, drawing on references from fashion, advertising and art history to speak to the representation of women throughout time. 

“‘Les Biches’ is a darker, more complex series of paintings that address the psychological elements of a character, where the women balance a complicated polarity between the grotesque and the beautiful,” the artist explains. Here, each piece has been built-up in layers with flat brushes, used to apply broad swathes of thick oil paint that deliver a captivating tactility. Bright pops of colour feel urgent and impactful against the paintings’ dark backgrounds, while the female figures seem to inhabit an in-between space that links past and present; existing within a kind of classical painting canon while simultaneously expressing something that feels anchored in a contemporary context. 

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“I feel like I’m finally arriving at the paintings that are closest to me,” says Wright. And for someone who has been painting consistently for over a decade, it is a statement that not only speaks to the time required for artists to evolve, but one that also showcases the inherent qualities that have contributed to Wright’s success. While her talent with a brush and canvas is undeniable, it is the ways in which her ability is coupled with a determined, driven and disciplined attitude that has seen her build a meaningful career in what can be such a fickle field. Talent, plus time, plus work ethic — clearly a winning formula. 

“I treat my studio time like any other job,” Wright divulges, emphasising the importance of maintaining structure around her creativity, “And I have to be in there working at least five days a week, sometimes more when I’m preparing for a show.” That said, Wright articulates that she rarely allows the commercial realities of being a working artist impinge on her process. “I do try to put all of that part of my work to the side while I’m painting… the logistics, the expenses, the practicalities of running my studio and the idea of trying to appeal to everyone.” She pauses, “I think some of the best work is quite niche, and looking at the sizes of my most recent paintings, they’re really not practical at all,” she laughs, “but I have to do what feels right to me in the moment, and it’s so rewarding when it all comes together.”

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Silk dress, Horsebit Joni platform loafers both from Gucci.

Now, it feels like Wright is in the midst of an evolution, one that is taking her paintings to the next level, both in size and composition. It is as though everything she has learned so far is starting to consolidate and crystallise, and her future looks bright as a result. “There have been many highs and lows and I have had to learn some tough lessons in resilience and tenacity,” she says. “When you’re working in the studio there are moments of feeling untouchable, and others when you feel like the most fragile person in the world.” She continues, “being an artist can be an incredibly uncertain path and it can take a lot of mental strength to persevere, but being able to pursue my passion has truly been the greatest privilege of my life. It’s something I am grateful for every day.” 

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Looking beyond her upcoming show, Wright indicates that she has some exciting projects on the horizon, including a possible international residency (the details of which she could not yet divulge), alongside continuing to build her practice and network in New York. One thing we do know is that aside from her consistent subject matter, Wright will never serve up the same thing twice, a quality that makes the work feel an apt representation of her. 

“I like to think my work is always evolving,” she says. “Life is constantly changing and as I become more aware of who I am as a person, I think my painting changes too.” This willingness of Wright’s to embrace evolution just as she keeps elements of her offering consistent is, in my view, the secret to her longevity.
As the great New York art critic Jerry Saltz said, “make something, learn something, and move on. Or you’ll be buried waist-deep in the big muddy of perfectionism,” which is a place I certainly don’t see Wright ending up anytime soon. 

Hair: Richard Kavanagh. Makeup: Nicole Thompson.

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