The power of a pair of sunglasses should never be underestimated. In fact, picking the right shades for your face can enhance your natural features like nothing else. Consider shape, colour and lens style carefully — alongside flattering your visage, sunglasses can be made to pull an outfit together as the perfect finishing touch.
Here we present a curated edit of our favourite styles right now. From uber-cool cat-eyes to colourful lenses and sporty shapes, these are the slick new sunglasses to add to your collection.
From left: Celine Cat Eye S220 sunglasses from Parker&Co. Projekt Produkt RS2 C06 sunglasses from Parker&Co. SL 563 sunglasses from Saint Laurent.
From left: LV Charm Cat Eye Sunglasses from Louis Vuitton. ValentinoXVI Pilot Sunglasses from Faradays. Christian Dior Missdior B2u Sunglasses from Parker&Co.
From left: Wrap D-frame Sunglasses from Balenciaga. Moscot MESHUG SUN sunglasses from Parker&Co. Moscot Shtarker Gold Sunglasses from Parker&Co.
From left: Wire Cat Sunglasses from Balenciaga. Christian DiorBobby Sport sunglasses from Parker&Co. Bottega Venetahue sunglasses from Sunglassbar.
‘Punching above our weight’ is a phrase so entrenched in the Kiwi vernacular that it should be written on our passports. We like to think of ourselves as a country that exceeds expectations and excels beyond what our resources might suggest is possible — going so far as to entangle our sense of national pride with that very idea. But the promise of celebrating success and the act of doing so (particularly when one of our own really does go off and succeed on an international scale) are two very different things. And while it’s true that we have a number of hugely-talented entrepreneurs in New Zealand, there is a lot more to be done to support the global aspirations of those with bright ideas — especially if we want to celebrate success for real (and not just with glib one-liners). Having experienced this first-hand, Anna Mowbray is an entrepreneur who wants to shift the paradigm, and encourage others in the process.
Anna wears necklace, jacket, belt, skirt and heels all from Christian Dior.
You’ll no doubt be familiar with the story of Zuru. Started by Kiwi siblings Anna, Mat and Nick Mowbray almost 20 years ago, the company has, thanks to the immense determination of its founders, grown from humble beginnings in the shed of a Waikato farm to one of the most prolific toy companies on the planet — headquartered in Hong Kong but with operations spanning the globe. Its products are iconic (from Mini Brands to Bunch O Balloons to X-SHOT) and its reach is immense (one of the top 10 toy companies globally, Zuru now has an annual revenue in the billions, sells its products in over 120 countries and has recently branched into fast-moving consumer goods with considerable success). But perhaps most significantly, its founders stand apart from their competitors for their Kiwi ingenuity, single-minded perseverance and never-say-die attitude — a potent, propulsive mix.
That is the first thing that strikes me about Anna Mowbray. The director and co-founder of Zuru carries herself with the kind of confidence and sure-footedness that could only have come from years of self-belief and a mindset anchored in the idea that nothing is outside the realm of possibility (if you’re willing to put in the hours).
“We had a very idyllic, very humble upbringing, and my parents sacrificed a lot,” Mowbray tells me, describing a childhood of bare feet, Vegemite sandwiches, friendly competition with brothers and seminal lessons around the importance of education, independence and grit. “My dad worked so hard, and he was really entrepreneurial,” she continues, “he always encouraged us to be self-motivated and self-employed, and to take risks and build our own futures, which was empowering to us as children.” It proved a crucial example for Mowbray, that instilled in her an insatiable hunger for success, and an outlook that left no room for complacency, laying the foundations for her future as a business leader. It was this drive that kept her moving forward, even in the face of daily challenges. After all, the path to success is rarely smooth.
“I think the biggest misconception people have about me is that success came overnight,” Mowbray reveals, laughing. “They don’t know that it has taken 17 years of determination, tenacity, huge hours and massive sacrifice,” she explains, “I spent most of my twenties in a small town in China, not knowing the language or the culture, sleeping on factory floors, living hand-to-mouth with no outside investment, and setting up this business with nothing more than a vision for creating the largest toy company in the world.”
That Mowbray and her brothers built their business from throwing caution to the wind, relocating to rural China, diving into a space of which they knew very little, cleverly setting up their own vertically-integrated manufacturing facility and creating products to compete with the likes of Hasbro and Fisher Price, is a testament to their incredible dedication. Failure, as Mowbray tells me, was not an option. “In many ways, our naivety was our greatest blessing because it gave us this fresh perspective and positive mindset to be innovative and build something totally different,” she says. “From the outset we wanted to be as close to the problems and solutions as possible, so we established a supply chain that we owned completely — from ordering raw materials to creating the final products to marketing campaigns and strategy — and we quickly became the most knowledgeable company in the industry.”
Indeed, despite some early cashflow challenges, Zuru’s unapologetic approach of betting big and winning big paid off, resulting in products like Robo Fish (which sold 30 million units in 24 months), Bunch O Balloons and Mini Brands (both of which went straight to number one across all toy categories, globally). And while Zuru’s commercial success is undeniable (and much-discussed), what you probably don’t know is just how involved its founders still are in the day-to-day.
For Mowbray (inherently a problem-solver) this deep engagement with her company’s operations is something she loves. “I am always in the weeds, trying to understand where the problems lie and solving them efficiently,” she reveals. “I find I often spend less time in huge macro head spaces and more time focused on finding high-level solutions to everyday problems.” It’s a lesson in the value of simple, honest hard work and never being above the small stuff. Mowbray’s willingness to dedicate herself to finding solutions where others might not, and the voracious optimism that allows her to see any challenge as an opportunity, really is the secret sauce to her success. It also makes her a better leader.
“Anna has always led by example,” says Aneisha Viera, Global Brand Director at Zuru Toys. “She manages a huge cross-section of teams and departments including factories, sourcing, operations, sales, marketing, finance, demand, capacity planning, branding and more, and not only skims the top of these areas but engages deeply with their work, never missing a beat.” For Viera, Mowbray’s influence has been pivotal. “Even when I didn’t have confidence in myself, she saw something in me, and bestowed so much trust in me,” Viera continues, “she taught me what it means to be a leader, to get in the trenches with your team and the value of real, gritty, hard work… she also instilled in me the importance of balancing work with a meaningful life outside the office, for which I am so grateful.”
Indeed, what sets Mowbray very much apart as a leader, is the time she dedicates to ensuring that the people around her feel listened to and empowered. And, having spoken with those in her orbit, it is these qualities (well beyond any of her quantifiable accolades) that have earned the deep respect and admiration of her team.
“I am always thinking about how I can be doing things better or differently,” Mowbray explains, “and recently, I’ve come to learn the importance of being vulnerable, both in business and in my personal life.” As a businesswoman and a mother, Mowbray is no stranger to that neverending search for balance that is so familiar to many working women, telling me how, in the early days of Zuru, she would keep a cot in her office and change nappies on her desk during meetings. It’s an image that Viera also recalls in our conversation, telling me of one particular day in which Mowbray was into the office early and broke for a lunchtime workout before proceeding to breastfeed her youngest child while leading one of the most important licensing meetings of the year (finalising a deal that was crucial to one of Zuru’s biggest brands). “That day and every moment since,” Viera says, “whenever I have wondered or doubted if I ‘could do it,’ it’s that image of a workout-clothes-clad, breastfeeding, boss, CEO, nailing a multimillion dollar deal, that reminds me that I can do anything.”
To me, Mowbray is something of an enigma. She is bold, unapologetic and a powerful force in business. But she is also warm, relatable and incredibly generous with her time; as focused on helping others tap into their potential as she is on her own personal growth. “I get so invigorated by the idea of being able to grow people on our team,” she explains, “under my leadership across our toy business at Zuru, we now have a 70 percent female workforce, with women in over half of our director and upper-management roles.” It is Mowbray’s influence that people like Aneisha Viera and others who work for Zuru, like Head of Global Content Strategy Bec Hunter, describe as transformative, both for their careers and on how they carry themselves through life. “Anna is an empathetic leader who empowers and motivates her teams” Hunter says, “I have learned a tremendous amount from her, her genuine enthusiasm for success, her global perspective and adaptive style.”
But as much as Mowbray dedicates time to facilitating growth internally, she also wants to encourage a shift in the wider attitude towards entrepreneurialism in New Zealand. “We have got some truly phenomenal entrepreneurial minds in this country,” Mowbray says, “but we need to be better at celebrating those risk takers and courageous individuals who are going out and trying something new. We need to create an environment here that encourages people to dream big and supports them to act on their ideas.”
So what does that actually look like? As Mowbray puts it, “fostering entrepreneurialism is about local connectedness and leaders, investors and entrepreneurs being more selfless with their journeys.” It is also, she tells me, about mentoring young talent, and encouraging successful businesspeople to take others under their wings. This month, Mowbray will judge the Rise Up awards, which sees globally ambitious female founders vying for a grant that will help take their businesses to the next level. “We’ve got ingenuity in spades,” says Mowbray, “but often, we are too reserved or scared to put ourselves out there for fear of judgement… if we celebrate and support those who aren’t afraid to dream big, we will build more homegrown models that can be looked up to and replicated.”
It’s also, of course, about how far the New Zealand government is willing to help, not only by growing the talent density here, but by making this country an appealing place to build a business. Or, at least, as somewhere to which expat entrepreneurs might want to return. “As a country”, Mowbray articulates, “we need to look at how we can support business at a higher level, in order to unlock New Zealand’s huge potential… whether that is policy change to allow for sustainable and profitable growth, or what tax breaks look like for businesses bringing hundreds or thousands of jobs here, or visa and immigration laws… it’s so important for the future of this country.”
For Mowbray’s part, she explains how, since relocating her family back to New Zealand from Hong Kong (an unexpected, Covid-driven move) she has been involved in helping a number of start-ups here — some in an advisory role (such as healthcare accessibility platform, Health Now) and one as a founder (an HR-focused tech business — watch this space). And as much as she is still focused on growing Zuru’s already-considerable reach, she speaks to me as though she is just at the start of her journey. “I set this goal at the top of last year to get to a billion dollars of revenue across our toy business, and we smashed that,” Mowbray says, matter-of-factly, “so now, I have this desire to find new opportunities, new categories and new industries to conquer.” She continues, “I also want to figure out how we can solve different and more pressing problems in the world; we’ve brought a lot of joy and fun but now I’m thinking more about how I can make a difference in other ways.”
It is refreshing to talk to someone with such a relentlessly positive outlook; someone who looks at the challenges being served us by the world and sees only opportunities. When I ask Mowbray the advice she would give budding entrepreneurs who might feel discouraged by the last few years, she is practical and clear. “Create products with purpose,” she says. “Be a sponge for knowledge, learn as much as you can, shake as many hands as possible and be interested in people, learn what drives them to achieve greatness.” She pauses, before adding, “but above all, it comes back to the idea of vulnerability… seek out criticism and constantly challenge yourself by asking ‘how can I be better? How do I evolve?’”
Practising what she preaches, Mowbray is not naturally inclined to speak about herself (“this is not my happy place,” she jokes with me when we first sit down) but she puts this aside in the hope that sharing her story might inspire someone else to aim for the same kinds of lofty goals. After all, she and her brothers are living proof of the eye-watering success that can organically grow from hard work, good timing and unwavering self-belief.
To me, what is most impressive (beyond her obvious career accomplishments) is Mowbray’s inherent generosity — made all the more impactful when paired with her unique ability to make things happen. When Covid-19 hit New Zealand, for example, she set up a task force in China to procure and manufacture PPE for New Zealand hospitals, not letting the fact that it was in very high demand and in very short supply stop her. And after spending hours on FaceTime and Zoom calls (“I spent a month working 18-hour days,” she tells me) to understand the criteria of manufacturing high-quality and stable PPE, she funded and chartered five Air New Zealand planes packed with essential supplies to ensure our national stockpile would be okay in the case of an outbreak.
“She cares deeply,” Aneisha Viera says, “and I don’t mean about the business (that’s a given — built into her DNA), she cares deeply about her team and about people.” Mowbray is a rare example of someone for whom success on an astronomical level has not eroded their ability to be grounded, practical and empathetic. And now, the entrepreneur is looking to the future. “I want to make sure that I am giving back and helping others to unlock their potential,” Mowbray reveals, “but I also want to see what I can do by applying my skills to new spaces. I want to be useful and to make a real difference.”
That said, Mowbray also plans on dedicating a large part of the next 10 years to raising her children, explaining to me how she and her fiance (former All Black, Ali Williams) are focused on bringing up good, humble citizens who pave their own paths and grow to be passionate and compassionate people. Because despite everything she has achieved, when asked what she wants her legacy to be, Mowbray doesn’t hesitate. “It’s such a big question,” she says, “but the answer is actually really simple… my greatest legacy is my kids.”
Whatever Mowbray chooses to do next, I have no doubt that she will continue to punch well above her weight. “I don’t want Zuru to be the greatest mountain I’ve ever climbed,” she tells me, a twinkle in her eye. And incredibly, I don’t think it will be.
Image credit: Styled by Claire Sullivan-Kraus. Hair and makeup by Alexandra Stanworth. Shot on location at ECC Minotti showroom.
There is a wonderful optimism that materialises in the lead up to summer, and nowhere is this better expressed than in the new collections unveiled ahead of the season. After all, warmer weather offers the perfect opportunity to wear pieces that feel romantic, whimsical, feminine and vivid, pieces that are fun and a little flirty, and allow us to give our everyday looks a more playful twist.
It is these qualities on which local designer Caitlin Crisp has built her latest collection, Forever and Always — an ode to the rhythm and romance of summer.
Inspired by happy memories of singing along to Shania Twain with her mum on road trips, Crisp’s Season Eight is a collection that captures the unbridled joy of the season via bright colours, effortless silhouettes and elegant but versatile pieces that will take you from the beach to the bar and everywhere in between.
New designs like the Forever and Always dress (with its flowy, flattering cut and low back) and the Still The One skirt (as perfect when paired with the Cooper crop as it is when worn as a simple, strapless dress) sit alongside new takes on Caitlin Crisp classics like the Marsden tank, reimagined in crop and minidress styles. Elsewhere, the designer continues to create covetable shirting with her new Beach Shirt — a throw-on that speaks to the kind of easy elegance we demand from our summer wardrobes.
In Season Eight, Crisp has rendered her styles in signature linen, ribbed textiles and cotton broderie, alongside the exclusive, seasonal ‘Flowerbomb’ — a silk-cotton deadstock fabric, available in very limited quantities. In this way, the collection feels deeply connected to the Caitlin Crisp aesthetic we have come to know so well, while still offering an evolution of sorts. Here, the idea of elevated, everyday luxury remains, although with a slightly bolder, more confident edge.
So, as you start prepping your wardrobe for warmer days, it is to Caitlin Crisp’s Season Eight that we suggest you look first — a versatile, vibrant homage to the spirit of summer.
The commerce-art dichotomy that lies at the heart of high fashion is never more present than during Haute Couture Week. On the one hand, the pay-to-play nature of haute couture exemplifies its exclusivity (most pieces carry price tags in the hundreds of thousands of dollars), while on the other, it offers an expression of fashion at its most artisanal. Really, the collections unveiled over the course of the week feel more like art exhibitions than clothes, used to showcase the creative prowess of the world’s foremost fashion houses. And yet, they also often make the clearest comment on our culture, their one-of-a-kind, handcrafted nature allowing designers to tell the kind of story they can’t with ready-to-wear. It is part of what makes couture so compelling — even if you aren’t a customer.
For Fall 2022, Haute Couture felt like it had returned with purpose from two years of disruption. Whether it was through ideas of rebirth and regeneration at Christian Dior, reconciling the past with the present and looking to the future at the likes of Valentino, Schiaparelli and Olivier Rousteing for Jean Paul Gaultier, discussions of technology and metamorphosis at Iris Van Herpen or examining the cult (and cache) of celebrity at Balenciaga, the Fall season delivered drama and finesse in equal measure, and marked something of a comeback for this, most hallowed of fashion weeks.
Left: Schiaparelli Fall Couture 22. Right: Fendi Fall Couture 22.
Nowhere was the idea of a dramatic haute couture revival more clear than at Valentino, in which Pierpaolo Piccoli sent models festooned in feathered masks and powerful colours down Rome’s iconic Spanish Steps. Piccoli called it ‘The Beginning’ (despite his 23-year tenure at the house) drawing on Valentino’s history by taking the show back to the site of its original atelier. This history was woven through every look, too, where voluminous silhouettes (including an homage to the brand’s ‘Fiesta’ dress from its first ever runway show, reimagined as a mini dress covered in 3D red taffeta roses) met dazzling iridescent gowns and brilliant, bold hues — bright pink has, after all, become something of a calling card for the brand.
Left: Valentino Fall Couture 22. Right: Jean Paul Gaultier Fall Couture 22.
But between the glamour and drama, the message at Valentino was one of individuality and diversity. The casting felt as varied and well-considered as the pieces themselves and there was a smattering of men’s haute couture that offered beautifully-restrained tailoring and moments of pause between the more showstopping looks. By engaging with its past, Piccoli put Valentino firmly in the context of now — and he wasn’t the only designer this season to do so.
For the third iteration of Jean Paul Gaultier’s project, in which a different designer is given the reins of the brand’s couture house, Balmain’s Olivier Rousteing created a collection that spoke to Gaultier’s most memorable moments (including an ode to his breast-baring dress for Madonna at the 1992 amfAR Gala). It was the ultimate homage, as much to the iconoclastic designer’s era-defining aesthetic as it was to the unparalleled level of craftsmanship in his atelier — with incredible textiles and techniques on display (the moulded glass bodices, for instance, were created by those responsible for the stained glass windows of the Notre Dame) and looks that proved the power of Gaultier’s petites mains. It was both a joyful celebration of fashion and craft, and proof of how the echoes of Jean Paul Gaultier continue to ripple with significance through the wider culture.
Similar waves were felt at Maison Schiaparelli, where Daniel Roseberry dipped into the brand’s archives for inspiration, evoking its Founder, Elsa Schiaparelli, and the work of its former Director, Christian Lacroix. Cinematic and artistic, the Schiaparelli Haute Couture show demonstrated exactly why pieces from its past collections were simultaneously on display at Paris’ Musée des Arts Décoratifs — confirming its cultural status and importance beyond fashion alone.
Left: Schiaparelli Fall Couture 22. Right: Iris Van Herpen Fall Couture 22.
Schiaparelli’s Fall 2022 Haute Couture captured a naive, 80s nostalgia in its exaggerated silhouettes and garish, embellished details, tempered with the kind of rigorous tailoring that Elsa Schiparelli herself would have likely worn. Structured corsets ensured waists were adequately cinched and hourglass shapes were reminiscent of the Lacroix-era woman. Roseberry’s variety of artistic appliqué also drew a clear line to Ms. Schiaparelli’s legacy of wearable surrealism from the 1920s, 1930s and 1940s — about the best example of fashion intersecting with art as you could ever find. (After all, the house of Shiaparelli built its reputation on collaborations with a number of renowned surrealist practitioners.)
This ability to anchor the significance of Schiaparelli’s past firmly in the now lies at the heart of Roseberry’s genius. His collections are romantic and weighty without losing their modern edge, and are artistic but inherently wearable, evoking a more nostalgic era of fashion and its potential for creativity.
A similar idea was offered at Iris Van Herpen, albeit in a vastly different way. Since her eponymous brand’s inception, this Dutch designer has pushed the boundaries of where art and technological innovation end, and where fashion begins. And if Schiaparelli exemplifies classic, old-world couture, Iris Van Herpen offers a look into its future.
For Fall 2022, this revered label created a collection that was, quite literally, out of this world, exploring ideas of hyper-reality, the Metaverse and posthumanism via intricately-constructed pieces (each of which took three-to-four months to create) made from a combination of classic couture techniques and 3D printing. Inspired by Ovid’s Metamorphoses, the designer used mind-bending silhouettes and sustainable materials to provoke questions around who we are beyond our physical bodies, and where we are going as human beings.
Exclusively a couture house, Iris Van Herpen has built a reputation for perspective-challenging, one-off pieces that marry sustainable materials with cutting-edge technology and blur the lines between fashion and cultural commentary. “All of my clients are basically art clients,” Van Herpen told Vogue about the ways her collections are received — her latest outing arguably the most collectible yet.
Interestingly (and perhaps counterintuitively) there are parallels that can be drawn between Van Herpen’s forward-facing haute couture and Christian Dior’s collection by Maria Grazia Chiuri — certainly not aesthetically, but in the way that both engaged with ideas of the future and focused on connecting their clients to the craft.
Christian Dior Fall Couture 22.
Grazia Chiuri created a haute couture collection that was subtle and contemplative, where a reserved colour palette and intricate detailing in lace patchworks and beaded embroidery highlighted the unparalleled craftsmanship at play in each piece’s creation. It was romantic and intimate in the way that much of the handiwork was invisible except to the client — Grazia Chiuri’s bid to forge a deeper understanding between the creators of couture and those who covet it. Tapping into the spirit of purpose with which the Maison of Christian Dior was founded in a post-World War II climate, the designer was inspired by the ongoing conflict in Ukraine to ground this collection with a similar sense of meaning (the starting point for Grazia Chiuri’s embroidered designs was the work of Ukrainian artist, Olesia Trofymenko), achieved in the choice to offer a more pared-back and purposeful overall look.
Chanel Fall Couture 22.
Indeed, pared back and purposeful could also describe the collections at Chanel and Fendi, both of which conjured the late, great Karl Lagerfeld (although in slightly different ways). For Chanel’s Virginie Viard, Fall 2022 Haute Couture offered a chance to loosen up and move out from under the shadow of her predecessor (or to propose a gentle evolution, at least) with a collection that felt relaxed but bold in style, and refined in execution; a collection that was comfortable enough in its heritage that no overt exertion was needed (although, just like at Dior, the meticulous handiwork of Chanel’s petites mains became obvious on closer inspection). With swathes of colour (something that felt new for Viard) and a more playful approach to accessories and layering, Chanel’s Haute Couture was very much on brand for the house, although less Lagerfeld than ever before.
In a way, it was a similar story at Fendi, although Lagerfeld’s influence felt more deliberate. Here, the brand’s Artistic Director Kim Jones offered a masterclass in quiet elegance, with a collection that evoked Lagerfeld’s legacy of simple timelessness as the ultimate luxury (married, of course, with eye-wateringly exclusive materials). From patchwork dresses in Japanese silk kimono fabric, sourced directly from Kyoto, to a trio of simple but sumptuous looks entirely in Vicuna (the finest natural fabric in existence; only able to be sourced in tiny quantities from protected animals of the same name) to sequinned, bias-cut slip dresses made from swatches that Lagerfeld had commissioned years ago but never used, the idea of heritage and unapologetic luxury permeated every piece at Fendi — even if it was just for the pleasure of those who knew what they were looking at. Here, as at Chanel, it felt like bona fide couture — exclusive, sophisticated, incredibly-detailed and impeccably constructed. Of both, Lagerfeld would have been proud.
That said, some designers preferred a less subtle approach. At Balenciaga, Demna continued his ‘meme-ification’ of high fashion with a show that spoke to the cultural cache of ‘celebrity’ and broke down some of the traditional barriers to haute couture, painting a future in which couture could speak to a new legion of customers and fans outside the long-established order. (Evidenced by the excitable crowd that gathered outside the Balenciaga show to watch guests arrive.)
Balenciaga Fall Couture 22.
From models in glossy, black face shields (like a parade of humanoid robots), to opening looks in a specially-developed neoprene made using Japanese limestone (an updated version of Gazar, the sculptural silk textile originally created for Cristobal Balenciaga), the collection started with futuristic looks before moving through a number of couture-worthy reimaginings of Balenciaga signatures (including jeans and denim jackets) and building to a crescendo of epic proportions. In a move that evoked the history of this storied brand, Demna called on celebrities like Kim Kardashian, Nicole Kidman, Naomi Campbell and Dua Lipa to take to the catwalk, and closed the show with a series of gowns that were twice as wide as the setting’s doorways (a tongue-in-cheek reminder not to take it all too seriously, perhaps?)
Kim Kardashian, Nicole Kidman and Dua Lipa for Balenciaga Fall Couture 22.
At its heart however, this collection both lived up to its hype and embodied the essential tenets of couture via exceptional craft and unmatched showmanship. What keeps Demna at the centre of the cultural conversation is the way in which he reimagines the established order without disrespecting it. Here, between the glamour, extravagance, craftsmanship and drama there was a focus on sustainability (25 percent of the collection had been made using upcycled vintage pieces and deadstock) and a view to making haute couture more democratic (if not by it’s actual prices then by the way in which this particular breed of fashion could be understood and digested by a wider audience).
Taking this idea one step further, Demna simultaneously opened a new Balenciaga couture shop on Paris’ Avenue Georges V, from which anyone could buy limited-edition items like the collection’s upcycled pieces, specially-made souvenirs and the ‘speaker’ bags that the models had carried on the runway — the result of a collaboration with Bang & Olufsen. Say what you want about Demna’s tenure at Balenciaga, no one can deny that he is the moment and his understanding of how ‘fashion’ must evolve imbues all of his shows and collections with a sense of urgency and importance — so much so that even those outside of the industry feel compelled to sit up and take note.
All that said, while haute couture offers an invaluable vehicle for the world’s most respected designers to execute their vision, it is as much a commercial exercise as it is a creative one. And if this season has proved anything, it is how fashion is able to move forward without losing sight of the beautiful, slow craftsmanship on which the luxury of this industry was built.
When we sat down as a team to plan our Spring issue, it was the collective desire to harness a spirit of resilience that inspired our overarching theme. With everything that has been going on in the world and even closer to home, as well as the various challenges we had to overcome just to bring this issue to you, ‘The Bold & The Brave’ felt an appropriate cover line for our time.
In the pages of this issue, we celebrate ideas of boldness and bravery via interviews with people like cover star Julie Pelipas (the former fashion director at Vogue Ukraine and founder of upcycled fashion platform Bettter), who speaks to us about launching Vogue in her home country, reimagining the global fashion system, fleeing Ukraine after Russia invaded in February and why winning the war is the only way forward for the world. We also speak to Anna Mowbray (the co-founder of Zuru Toys Co.) who offers an exclusive interview in which she offers rare insight into her fascinating career trajectory, a journey that has seen her go from a small Waikato farm to becoming one of the most successful, self-made entrepreneurs globally (the toy company she co-founded with her brothers now garners billions of dollars in annual revenue).
Elsewhere, our Editor-in-chief offers a guide on some of the most tantalising tipples around Auckland in a cocktail-centric edition of her ongoing ‘My Year of Magical Eating’ series, and we sit down with local Instagram sensation Polly Markus of Miss Polly’s Kitchen, to talk about growing her social media side hustle into a fully-fledged cookbook — out now. We also pick the brain of Australian hospitality legend Frank Camorra, as he opens the doors to his new MoVida outpost in Auckland (a very exciting addition to our local dining scene).
Of course, we have also delved into all of the important trends to know about in the realms of design and fashion (including a deep dive into the most significant moments from Fall Haute Couture Week) alongside a number of thorough round-ups of the new and noteworthy pieces to add to your homes and wardrobes.
Those seeking escapism will find a version of it in our spring culture pages, where we detail the books to be reading, the shows and films to be watching and the podcasts and albums to be listening to over the next few months. Or for a more literal interpretation, our navigator section presents a line-up of the most exquisite new hotels that have recently opened in Paris, London, New York and Los Angeles (as if you needed any more reason to plan an overseas trip).
Ultimately, this issue is a celebration of those who work tirelessly to contribute something of substance to this world. Be it on a small, local scale or a more global, far-reaching one. We hope that its pages deliver some kind of inspiration as you move out of winter and into the season of growth, new beginnings and fresh perspectives.
For fitness trainer Xi Cao, wellbeing has always been a focus — both personally and professionally. Over the years, this passion has seen her undertake a range of training, including in TRX suspension, reformer Pilates and EMS (Electro Muscle Stimulation), driven by a desire to understand functional movement, science-based fitness and the latest technology. Now, having long applied her philosophy of targeted training to help her clients harness their full potential, Xi has opened the doors to her very own studio, and we have your exclusive chance to try it first.
XI Labs is a beautiful, new boutique space in Parnell that offers a wellbeing haven grounded in the goal of helping people transform their bodies and reimagine their health. Filled with natural light and finished in beautiful furnishings and a cool, contemporary palette, the studio is the perfect setting in which to escape the daily grind, recalibrate and recharge.
Described by Xi as a “technology-driven fitness studio,” XI Labs’ offering is all about training smarter, not necessarily harder. For those interested in Pilates, the studio offers bespoke classes with either Xi herself (an Elite trainer) or Meech Aspden (a Master trainer who specialises in clinical Pilates) centred around the classic Pilates tenets of stretching, toning, strength and posture, using state-of-the-art equipment.
Elsewhere, EMS sessions are available for those seeking something more rigorous. Touted as one of the most effective ways of achieving a tighter, leaner and more toned body without spending hours in the gym, EMS training is used by elite athletes the world over and offers the same (if not more) benefits as a 90-minute gym session in just 20 minutes of work — seeing the user hooked up to a machine that sends pulses through their muscles as they move.
Or, if it’s a more traditional style of training you’re after, XI Labs also offers one-on-one personal training tailored to your specific needs and goals. Here, Xi will use resistance and weight training in conjunction with TRX suspension bodyweight exercises to challenge her clients.
And when the hard part is over, XI Labs offers the option of recovery sessions with the studio’s Air Pressure Recovery System — a technology that uses a multi-chamber, air-pressure compression system to aid in a faster recovery, as well as a targeted, soothing massage to promote relaxation.
From its varied training options and recovery sessions to its wonderfully calm environment, XI Labs is the perfect spot to kickstart your fitness journey in the lead-up to summer. After all, what better time than now to put your health at the forefront?
Anyone who says that pastel is passé clearly hasn’t encountered Versace’s most recent homeware collection with Rosenthal. Where typically, Versace’s coveted homewares are defined by their gilded, baroque aesthetic (evoking its rich, Italian history) here, all the ornamental details we might expect have been pared back for a finish that is fresh, modern and undeniably eye-catching.
Meet the new Rosenthal meets Versace vase collection. Crafted in Germany from premium porcelain under Rosenthal’s meticulous eye, these vases were modelled off Versace’s iconic ‘La Medusa’ handbag, and come in two distinct styles. While both are emblazoned with the brand’s Medusa plaque — a time-honoured signature — one iteration features monochromatic macro studs and a unique, rounded shape, while the other is a cylindrical vase with fine, decorative stitching details (as on the bag), rendered in three different sizes.
Available in shades of pastel pink and green, these vases promise to deliver just the right amount of colour to any space — their soft, understated presence a simple way of lifting the tone without making too bold a statement.
So if you’ve been feeling like your interiors need a little pop of colour, look no further than this cute new collection. Available locally from The Studio of Tableware, these vases are the accessories your space has been missing, as perfect for showcasing fresh, spring blooms as they are as striking, standalone objects.
Polly Markus has always loved food. It’s something she traces back to her Dad’s culinary skills and his penchant for entertaining. The memories of her parents having friends over for dinner were some of Markus’ fondest and were (in hindsight) what laid the crucial foundations for Markus’ own foray into the food realm via her wildly successful Instagram account and now cookbook, Miss Polly’s Kitchen.
For those who don’t know her, or count among the 48,000 people (at time of writing) who follow her food-dedicated Instagram (@miss_pollys_kitchen), Polly Markus is a person who should definitely be on your radar. Commercial real estate agent by day and dedicated, self-taught cook in her own time, Markus used the disruption of the last few years to turn her passion into a burgeoning business, something that has led to the recent release of her first recipe book — a huge feat for someone whose culinary skills were only known to a close circle of friends and family until about a year and a half ago.
Crispy Tofu Laksa
It was during 2020’s first lockdown, in fact, that Markus launched @miss_pollys_kitchen as a way to fill her time while real estate was on hold. Discovering a new way to share her love for food (that went beyond simply preparing a plate for someone), Markus’ effortless approach, relatable banter and recipes that put easy, flavoursome twists on classic dishes quickly made her stand out from the onslaught of food content being touted at the time. “I think cooking is really daunting for a lot of people,” Markus tells me, “so part of what I enjoyed about starting @miss_pollys_kitchen was that it felt like a little bit of fun… I wanted people to know that cooking doesn’t have to be serious, and it can be easy if you know the basics.”
The basics (like chopping ingredients properly, seasoning and combining the right flavours) are exactly what Markus covers in her timelapse kitchen videos, which provide a step-by-step guide on how to create her recipes at home. “I’ve had a lot of feedback from people saying that they can follow a recipe but it’s really nice to actually see how I cut the onion or the zucchini or how I put things together.” And while Instagram quickly became a creative outlet for Markus, it was the brands who approached her with partnership proposals that turned her passion project into a bona fide side hustle. “All of a sudden my weekends were filling up with shooting,” Markus reveals, “and I realised that I could actually turn this into something.”
Something then became something more, and at the start of last year, Markus was approached by a publisher who wanted to put Miss Polly’s Kitchen in print. And after months of trialling and perfecting her recipes (sometimes four different ones a day) and seeking feedback from those who have long been privy to her talent, Markus’ debut recipe book has finally arrived — a bible for anyone who loves entertaining.
Lamb Rump with pomegranate Salsa & Soft Roasted Eggplant
Now, Markus finds herself increasingly having to reconcile the demands of her day job with those of Miss Polly’s Kitchen. Because despite her burgeoning success, as she tells me, “I still just consider myself just a little old Instagram cook in my kitchen, with my little tripod and my iPhone, and that’s what I love.” It is this love for cooking that not only inspired Markus to put herself out there but has long been the driving force behind the food she makes — even if it is just for friends who pop over for lunch. It’s what makes her particular kind of food content so compelling — she exudes a passion that you can feel through the screen (and through the pages of her book).
As for the future, Markus tells me she is just getting started. Having recently done a cooking course in Italy and with a few projects up her sleeve, Markus wants to continue to share her culinary inspiration, and expand her own capabilities. “I feel like there are still so many things that I need to learn,” she tells me, “and even if my Instagram went away tomorrow, I would still be doing the same things… learning about food, making food and sharing it with the people I love.”
Miss Polly’s Kitchen For the Love of Eating, is officially out now, and available to order here.
Fancy a weekend on the sofa, lost in an excellent show? Here, we go through some of the best new series to have recently landed on streaming services — from thrilling dramas to action-packed narratives to fascinating documentaries to heart-warming comedies. Without further ado, your weekend watching guide awaits.
House Of The Dragon This hotly-anticipated new series delivers a prequel to the global phenomenon that was Game of Thrones, set 200 years before the original show and focusing more specifically on the ancestors of Daenerys Targaryen. Based on George R. R. Martin’s book Fire and Blood, the story centres on the Targaryen civil war, an ongoing battle between siblings vying for power following the death of their father. Resulting in the deaths of the Targaryen’s most powerful dragons. With all the promise of its predecessor, House of The Dragon is a must-watch.
Bad Sisters Part dark comedy, part thriller, this excellent new series follows the story of five sisters who, having pledged to always protect one another following the premature death of their parents, find themselves caught up in a revenge fantasy plot to save one of their own from a monstrous husband. Witty, suspenseful and expertly played by an excellent cast.
Five Days at Memorial This harrowing new drama, based on real-life events, follows the story of emergency caregivers at a New Orleans hospital in the aftermath of 2005’s Hurricane Katrina. Based on the 2013 Pulitzer Prize-winning book of the same name by Sheri Fink, this heart-wrenching miniseries will keep you deeply invested from start to finish.
A League of Their Own Set in 1943, this new comedy-drama miniseries focuses on the story of the Rockford Peaches — a pioneering female baseball team in the early days of the All-American Girls Professional Baseball League. An adaptation of the 1992 film of the same name (starring Tom Hanks and Geena Davis) this compelling show is full of laughs and is carried by a cast of great characters (and exceptional performances).
The Last Movie Stars In this intriguing docuseries, director Ethan Hawke pays tribute to Hollywood idols (and iconic couple) Paul Newman and Joanne Woodward, drawing heavily on archival documents — transcriptions of taped interviews that Newman and Woodward did with screenwriter Stewart Stern for a never-finished personal project. With most of the tapes destroyed by Newman himself and only a handful able to be salvaged as transcripts, here, Hawke called on actors like George Clooney and Laura Linney to give voice to the subjects’ words, creating an experience that is part documentary, part dramatic retelling, part interpretive character work.
The Old Man Based on Thomas Perry’s 2017 novel of the same name, this much-acclaimed, thrilling series stars Jeff Bridges as Dan Chase, a former CIA operative who, despite having lived off the grid in upstate New York for 30 years, is forced into going on the run after his past catches up with him and he kills an intruder who brakes into his home.
Surface After surviving what she is initially told was a suicide attempt that resulted in serious head trauma, Sophie (played brilliantly by Gugu Mbatha-Raw) has lost all of her recent memories. In the wake of the incident, she embarks on a quest to piece together her previous life, in order to understand what actually happened and why. Uncovering thrilling twists and turns, a shocking love triangle and a number of people who aren’t who they say they are, this series will keep you on the edge of your seat.
Mo Based on the story of Mo Najjar, an undocumented refugee from Palestine living in Houston (played by Mohammed Amer in his first scripted series) this new, semi-autobiographical Netflix show follows the hilarious antics of Mo as he embarks on various hustles to keep himself afloat while trying to navigate the notoriously convoluted US immigration system.
Echoes In this thrilling new series, Michelle Monahan plays twin sisters Leni and Gina, who have secretly switched places with each other their whole lives. But when Leni goes missing, it sets off a series of events that start to unravel both of their interwoven existences.
Untold: The Girlfriend That Didn’t Exist The sixth instalment of Netflix’s ‘Untold’ series, this new two-part documentary follows the fascinating story of Manti Te’o, who made global headlines as the promising college football star whose girlfriend, Lennay, tragically passed away from leukaemia just as his senior season was getting underway. But Lennay didn’t actually exist. This fascinating documentary revisits the sad unfolding of events that uncovered Te’o’s girlfriend to be nothing more than an elaborate catfish and speaks to the numerous flow-on effects of one person’s selfish pretence.
Paper Girls Like an all-female Stranger Things (although with a very different twist), Paper Girls is a fun, action-packed sci-fi series that follows four girls living in the 80s who, on their paper route, get sucked into a reality-warping battle that unwittingly embroils them in a time war — and a fight for the future of humanity.
Black Bird If you haven’t already watched this, you’ve probably had it recommended to you by more than one friend — and for good reason. Inspired by actual events, this miniseries was based on the 2010 autobiographical book, In With The Devil: A Fallen Hero, A Serial Killer, and A Dangerous Bargain for Redemption by James Keene, and follows the protagonist (played by Taron Egerton) who, at the start of his 10-year prison sentence, is offered freedom if he can illicit a confession from suspected killer Larry Hall.
This time of year can bring with it a sense of malaise, as we search for renewed energy and a fresh perspective — particularly as winter draws to a close and spring is on the horizon. In our opinion, the easiest way to give yourself a new lease on life is via a few simple switch-ups in your home, a new sofa here, a bookshelf there, or even a new bar cart (if you’re feeling convivial). Here, in a bid to help you feel inspired again, we have rounded up a list of the new design pieces we are coveting for the season ahead.
Noah Sofa by Giulio Marelli from Sarsfield Brooke Designed by architect Luca Erba, the Noah Collection is characterised by columinous shapes and lines that curve around to envelop the sitter, whether they choose to recline on the armchair, the chaise longue or the sofa. But it is to the last that we are particularly drawn, thanks to its versatile finish (available in a number of fabrics) and extremely comfortable construction and upholstery.
Hector bookshelf by Vincent Van Duysen for Molteni&C from Dawson & Co. There’s nothing like a good, old-fashioned spring clean to leave your interiors feeling refreshed, and as far as we’re concerned, nothing is more helpful in this department than added storage. Molteni&C’s Hector bookshelf is about as sleek an iteration of this functional piece as you’ll find, with a light and airy composition, an easy-to-change modular design, and a range of contemporary finishes to suit any space. As perfect to divide a room as it is to showcase your most precious objects, this bookshelf is the unexpected interior hero you didn’t know you needed.
Phare lamp by Menu from Tim Webber Originally designed for apartment no. 50 at Le Corbusier’s ‘Cité Radieuse’ in Marseille, Menu’s Phare lamp is a versatile, subtle light that can be easily picked up and moved around the house (or even outside in dry conditions) depending on where it is needed. Made from aluminium for recyclability, durability and lightness (with its shade crafted from injected plastic), this piece is as durable to use as it is impactful to look at, and has fast become a must for any home.
MP Trolley by Massproductions from Simon James Give at-home cocktails an elegant new dimension with the new MP Trolley by designer Chris Martin for Massproductions. With a construction that plays with geometric shapes and spacing, and a sleek, contemporary finish in black oak that promises to deliver some finesse to any living space, this trolley is like a good bar-tender — unobtrusive, polished and always there when you need it.
Asmara sofa by Bernard Govin from Ligne Roset Having made its anticipated return to Ligne Roset’s lauded collections for the brand’s 160th anniversary, the iconic Asmara sofa is back and better than ever. Originally designed by Bernard Govin in 1968, this style was an audacious reimagining of modular seating, comprising five configurable modules — convex, concave, low back, high back and semi-circular — that allowed the user to sit up or sprawl, and made a swift, significant impact on the landscape of design. Now, Ligne Roset has reissued the much-loved style, made all the better by new innovations by the brand’s R&D department, and it is the perfect piece to take centre stage in a large living space.
Cascadia Rug by Kelly Wearstler for The Rug Company from Design Central As the local purveyors of exceptional rugs, Design Central’s offering (of course) includes The Rug Company’s Kelly Wearstler-designed pieces. This one in particular, is a showstopper. Inspired by China’s Yangtze River, the Cascade rug features a mountainous landscape in neutral tones, meticulously woven in silky threads against a soft, Tibetan wool base.
Moke dining table by Devon Now is the perfect time to prepare your outdoor area for the imminent arrival of spring and summer, and there’s no better way to do that than with a stunning centrepiece like the Moke dining table by Devon. Boasting an elegant, rounded shape made from glass reinforced concrete (and able to be made in a range of specialty Peter Fell colours), this piece is perfect for all the al fresco dining that awaits us.
Modular Imagination blocks by Virgil Abloh for Cassina from Matisse Part of a project that saw the late, great Virgil Abloh team up with lauded Italian brand Cassina to explore the implications of modularity, these Modular Imagination Blocks can exist as standalone pieces or be combined to form various design accessories (from tables to chairs to ottomans and benches). This is a collection that invites imagination, and asks the user to rethink their domestic landscape and crucially, the blocks (made from plant-based matte black polymer and recycled wood) can be completely disassembled for after-use recycling.
Brasilia Bed by Marcio Kogan / Studio MK27 design for Minotti from ECC Making a strong case for a choosing a bed that makes a statement, the Brasilia bed embodies the same mid-century style that broadly defines the bold Brasilia seating range. Boasting a large wooden headboard that wraps around the bed’s padded frame and featuring built-in side tables that come off of its dark brown stained Canaletto walnut structure, this exquisite bed is more than just a place to rest your weary head at night (although it’s obviously perfect for that, too).
Frames by Lasvit from Matisse Designed to be standalone, light-art objects that engage with our imaginations and physically represent the thin borders that exist between our inner and outer worlds, Frames can be windows, doors, skylights or anything that connects our interior spaces with the outside world. Here, beautiful glass circles (each unique in its texture, colour and surface) are set into linear metal frames to become eye-catching elements of any space.
Brera sofa by Jean-Marie Massaud for Poliform from Studio Italia The embodiment of clean, contemporary design, Jean-Marie Massaud’s Brera sofa carries a strong architectural quality and unmistakable presence. Available in both linear and curved configurations, the sprawling structure of this sleek seating system doesn’t sacrifice anything to comfort (thanks to its incredibly relaxing pillows and generous seats) and yet, still carries a couture quality via leather detailing and a range of exceptional new fabrics.
Collar chair by Bensen from Tim Webber Allow yourself to be wrapped in plush comfort with Bensen’s unique Collar chair — a masterclass in the power of understated design. From its generous seat to its perfectly-curved backrest to its simple, linear structure, employ this chair singularly as the ideal reading spot, or add a few to your living room to create an inviting space for conversation with family and friends.
Nuvola coffee table by Casamilano from Studio Italia Give your living room some personality with this curved coffee table by Casamilano. Low to the ground and rendered in a wavy, irregular shape, this unexpected take on the classic, living-room centrepiece is made all the more striking by its manual, bronzed finish.
Mesh Suspension Light by Francisco Gomez Paz for Luceplan from Dawson & Co. Drama and innovation collide in this eye-catching pendant that taps into the potential of LEDs, utilising a technology that allows separation into very small units and results in a piece that appears almost transparent. This is thanks to the way that its metal cables have LED sources positioned at their intersections to conceal the complexity of the design. As such, the Mesh Suspension Light boasts unprecedented versatility, with the user able to control the light’s intensity and even decide which sections of the pendant to use.
Background coffee table by Massimo Castagna for Henge from ECC From its metal tube structure to its engraved stone top, this exquisite coffee table will lend any living space a sense of gravitas and grandeur. Able to be finished in a variety of natural stones from Henge’s comprehensive range, the strong, solid presence of this table will make it a point of conversation with anyone who goes to rest their coffee on its undulating surface.
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