This summer you’ll find us here, raising a glass to 150 years of Moët Impérial

Taking what is already set to be an exciting season of racing to another level, Moët & Chandon is posting up at Ellerslie Racecourse over summer with a series of Moët Moments designed to give guests a special place to relax on race day.

From its Cuvée area to its Champagne Lawn, Moët & Chandon’s setup will offer race-goers a reprieve from the hustle and bustle of the summer racing season and will be serving crisp flutes of its effervescent Moët Ice and Moët Impérial Champagnes.

But it’s the latter that will take centre stage this year, as Moët & Chandon celebrates the iconic drop’s 150th anniversary. The flagship Champagne of the house, Moët Impérial has been served at celebrations all around the world since its inception in 1869 and this year, the historic brand has released a limited-edition bottle to mark the milestone.

With Ellerslie Racecourse’s packed schedule of summer racing on the horizon, the promise of being able to sit back and soak up all the action from Moët & Chandon’s elegant area is putting us in the mood for a celebration.

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James Bartle of Outland Denim talks to us about his recent collaboration with Karen Walker

Outland Denim really started after its Founder, James Bartle was in Southeast Asia and witnessed a girl no older than 12 for sale on the side of a road — a story that even now (around 10 years later), still causes him to well up. It was a moment that drove Bartle to create a brand that could be used to help people escape human trafficking, and which is now being applied more broadly to help vulnerable people lift themselves out of systemic poverty. Outland’s ethos of sustainability goes far beyond the materials and processes used. For Bartle and his team, it’s all about the people. As such, the Cambodian seamstresses and factory workers that make Outland Denim garments are paid full living wages and are given educations in areas like money management and basic health care.

Having been worn by the likes of Meghan Markle, Outland Denim is growing incredibly fast and has recently released a collaborative capsule collection (the first collaboration they’re ever done) with Karen Walker. We spoke to Bartle to learn more about how the collaboration came about, and what the future looks like for this sustainable brand.

Explain how the design process behind this collaboration worked… what did Outland and Karen Walker each bring to the table?
The Outland Denim and Karen Walker teams worked collaboratively in the design process to create a range that our customers would enjoy for years to come. We started by drawing inspiration from favourite pieces from the Karen Walker archives, and refining them, making a priority the denim composition, feel and quality, and working with a colour palette that fitted with the cleanest washing process we could achieve. As with all Outland Denim pieces, this range was made by our production and finishing teams in Cambodia. The “Drummer Girl” icon created exclusively for this collection, found on the classic-cut T-shirt, perfectly encapsulates the partnership between the two brands, which is fundamentally about empowering women and taking action.

What was the inspiration behind the collection? Where was the starting point for you and Karen?
When exploring the possibility of producing a co-designed capsule, Karen Walker was an obvious choice. We’ve been longtime fans of not only the label’s design lens but also Karen’s ongoing commitment to prioritising transparency and ethical practices over profits. To the Karen Walker team, sustainability is not an after-thought, greenwashing, or a marketing campaign; it’s at the forefront of their design process. We also saw our approach to transparency mirrored in the way the Karen Walker team has not only thoroughly investigated their supply chain but also made this information readily and easily accessible online. Until it goes without saying that your garment was manufactured with respect to the maker and the environment, transparency is key in building this trust with customers who are longing to belong to brand communities that mirror not only their style but their values, too.

Like much of the sustainable fashion community who believe in collaboration over competition, it was our shared values that brought us together, and the conversation started from there.

Who do you feel you designed it for?
The common thread that ties our customers together is an appreciation for quality pieces with longevity. This range is for people who value buying well and buying less, and, of course, who march to the beat of their own drum.

What are the most important things you learned through this process? This, as our first collaboration collection, cemented our brand’s belief in collaboration over competition. The changes we hope to see in the fashion industry, we cannot achieve on our own. But more importantly, this collection presented a lot of up-skilling and learning opportunities for our staff in Cambodia. It is a huge milestone for us, to work alongside someone so highly regarded in our industry. The fact that our team has tailored this collection is a testimony to their dedication to their craft, and we are incredibly proud of this achievement.

James Bartle

Denim often gets a bad rap for the largely unsustainable practices surrounding it. When you started Outland, was it a challenge to reconcile the idea of working with this environmentally-harmful textile in a more sustainable way?
In developing Outland Denim, we quickly learnt that not only is denim one of the most challenging sectors of the fashion industry to break into, it’s also one of the dirtiest environmentally. This was a bit of an uncomfortable revelation for a company that had social justice at its core. The idea that you could help one group of people, while contributing to undermining another through environmental degradation was something we couldn’t ignore, so we set about cleaning up our supply chain pretty quickly, and with that came the notion of ensuring that every aspect and person within our supply chain, from the cotton pickers to the denim mill and courier company, were slavery-free while utilising the most environmentally responsible practises. We now have a team wholly dedicated to this side of our business.  Every button rivet and stitch is selected from suppliers who are leaders in their fields of social and environmental sustainability; they share in our values and goals.

But the greatest environmental milestone for Outland Denim happened earlier this year, when we opened our first stand-alone Wash and Finishing facility, equipped with state-of-the-art water and energy reducing technology, which allows us greater control over our environmental footprint, and the ability to grow our team.

What have been the other challenges you’ve faced establishing a brand that is ethical, sustainable and successful? 
Culture, location and values are factors that contribute to the type of response we receive from suppliers on the topic of transparency. It can be a new, daunting concept to some suppliers when we ask to put information about their company online. To encourage their support in our endeavours, we explain the value Outland Denim places on transparency, and we invite the supplier to set the bar high with us. We believe transparency is crucial to produce genuinely ethical fashion, so we seek to align with suppliers that hold these same values – desiring to transform the industry from the inside out.

What, in your opinion, are the biggest things companies should be looking at when it comes to ethical business practice? Have you noticed change happening in this space?
Consumers and brands take ethical fashion a lot more seriously now than when we first started out eight years ago; it was more a niche conversation happening amongst members of the fashion community, and perhaps a bit elitist, but there is a lot more education and awareness now by comparison. It’s a really exciting time period for the fashion industry in terms of environmental sustainability. There is a culture of innovation and collaboration, particularly in the areas of supply chain transparency, denim finishing, textile recycling, and plastic alternatives. We can see a day when our collective successes in sustainability as an industry are not a point of difference but the norm.  

While there is no denying the necessity for an urgent shift toward environmental best practise in the fashion industry, we do believe that there is still a lot of work to be done to protect the rights of the people making our clothes; in ensuring they experience a respectful, safe, fulfilling workplace in which they are paid fairly, especially garment workers who are migrants or subcontractors of a label’s primary production facility – these workers are even more vulnerable to exploitation. The 2018 Global Slavery Index estimates that $127.7 billion worth of garments at risk of modern slavery are imported into G20 countries yearly, placing fashion within the top 5 exploitative industries. To offer an alternative way of doing business is the reason we exist.

Was Meghan Markle wearing your jeans a turning point for the business? What were the major flow-on effects from it?
 The immediate effect following the news of the Duchess wearing the jean was a 3000 percent website traffic increase to our Australian home site and about 948 percent to our global group of sites, including .com, .ca, and .co.uk. Sales increased 640 percent for the week following the first sighting of Meghan in our jeans. The black Harriet jean worn by Meghan sold out in Australia in the first 24 hours. A sizable waitlist grew, with customers patiently waiting six months for the jean to be restocked six months later. But most importantly, thanks to the “Markle Effect”, it was possible to employ a further 46 seamstresses in our Cambodian production house. So in terms of growing our business exponentially, Meghan has enabled us to do this in a very tangible, immediate way.

Meghan Markle in her Outland Denim Harriet jeans

What are the biggest things you are looking at/working on for Outland Denim at the moment?
At the moment we are working on bringing to life our SS20 range, which will expand our offering to include dresses and chambray shirts, and our largest range of vegan options to date. We are about to announce some really exciting retail partnerships which will make our jeans more accessible to customers around the world, and we also are continuing to pursue a cleaner way to manufacture jeans, through partnerships with universities, governments and institutions around the world. Our current research and development projects begin in the areas of water purification, carbon footprint reduction, and zero-waste production, and extend to the intricate tracking of social and environmental impact with the use of big data.

What advice would you give other businesses looking to implement a more conscious, ethical supply chain? 
Dive into the design stage of your product. Is it designed with longevity in mind? Where are the materials coming from? What are your suppliers doing to mitigate social exploitation and environmental harm? Sustainability starts with good, intentional design.

Karen Walker’s collection with Outland Denim is now available online and in Karen Walker stores. For more information and to see the full collection, click here.

Coveted

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Root side tables by RODA from ECC
Orson 008 sunloungers, Caddy 001 bar trolley and Nap 082 rocking chairs by RODA from ECC

In the middle of a desert, this breathtaking resort is making a case for outdoor luxury

Housed in a series of stone buildings that were originally erected over half a century ago, Al Faya Lodge in the UAE’s Sharjah desert is a boutique hotel and saltwater spa that is giving new meaning to the idea of indoor-outdoor flow.

Conceived by Anarchitect, Al Faya offers a uniquely private, secluded experience (the hotel only has five rooms) and facilitates unprecedented access to its environment. The buildings interact seamlessly with their surrounds via clean lines, a neutral, raw palette and a clever use of outdoor furniture from renowned Italian brand, RODA (available locally from ECC).

Set at the foot of Mount Alvaah, the weathered, rust-coloured steel that makes up a large part of the resort’s structure echoes the fact that the area is rich in iron ore. Al Faya also offers beautifully-conceived outdoor spaces, like the pool, and star-gazing skylights in every room, so that guests feel as connected to the resort’s exterior beauty as they do to its luxurious interiors.

Orson 001 director chairs and Root 067 side tables by RODA from ECC

Part of this was about finishing these outdoor areas with furnishings that not only allowed guests to enjoy the unique landscapes in comfort, but that also stood up to the harsh natural elements of the desert. It makes sense, then, that RODA was chosen as Al Faya’s al fresco furniture.

Orson 008 sunlounger by RODA from ECC

RODA is renowned for its ability to combine durable materials with luxurious design so that its pieces imbue any outdoor space with the same kind of luxury as their indoor counterparts. Here, even facing extreme factors of heat, wind, sand and extreme temperature drops overnight, the brand’s loungers and chairs remain sleek and composed.

Orson 006 deck chair by RODA from ECC

RODA has just landed locally at ECC — meaning that it’s easier than ever for us to fill our own outdoor spaces with the sense of comfortable luxury this lauded brand offers — and just in time for the warm season, too. More information, here.

ECC

39 Nugent Street
Grafton
Auckland

(09) 379 9680

www.ecc.co.nz

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Left: Dior Men suit | Right: Prada dress

From serious suiting to feminine dresses, our Spring Issue cover shoot called for a change in perspective

Taking the idea of change — the theme of our recent Spring issue — and reimagining how it might look in the context of fashion, this photoshoot features both men’s and womenswear on model Bentley Mescal. Shot by Steven Chee and styled by Jess Pecoraro, this sleek shoot called for a change in perspective

Left: Dion Lee suit | Right: Georgia Alice dress and Christian Dior shoes
Left: Prada dress and heels | Right: Gucci shirt, jacket and trousers
Gucci blazer and trousers and Miu Miu sneakers
Miu Miu dress, Agent Provocateur bra, Wolford underwear and Chanel shoes
Left: Christian Dior bustier and trousers and Tiffany & Co. earrings | Right: Dior Men shirt and Ermenegildo Zegna suit
Prada shirt and sneakers and Louis Vuitton trousers
Prada shirt and sneakers and Louis Vuitton trousers
Image credit: Styling Jess Pecoraro | MU Max May @ DLM | Hair Koh @ Vivien's

Coveted

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Win best dressed at Halloween this year with these pop-culture-inspired costumes

Halloween is creeping up fast, so it’s time we all started thinking about who or what we’re going to transform ourselves into for the spoooooookiest night of the year. From major celebrity moments to memes, we have compiled a list of ideas inspired by some of the biggest moments of 2019 so far…

J.Lo’s Versace finale dress
When Jennifer Lopez stormed the Versace runway at Milan Fashion Week in a recreation of the iconic, deep-V green dress that broke the internet in 2000, she broke it all over again. There are some places you can find replications of this dress online, otherwise, it’s a pretty easy one to make a bootleg of at home — just take some scissors and Hollywood tape to a floor-length green dress and work it.

The World Record Egg
Who remembers the egg that dominated Instagram? To emulate the iconic ‘Instagram Egg’, either wear the neutral outer-shell colour head-to-toe and draw or paint a little yolk on your chest… or go all out and construct a 3D egg shape from cardboard. Up to you…

An Area 51 Alien
Throw on a green suit and some googly glasses and run around as if you’ve just been freed from a US Government facility.

Joker
Considering how this film has been received, you can bet there’ll be a few of these costumes around this year. Simply put on a coloured suit and waistcoat, go crazy with the face paint and colour your hair green with hairspray.

Phoebe Waller-Bridge at the Emmys after-party
When the photo that wrapped up a hugely successful night for Fleabag creator and actor Phoebe Waller-Bridge went viral, it was a glimpse into why we all loved her so much. To recreate this look, don a ball gown (we know you’ll have one at the back of your wardrobe somewhere) and pick up (or make) make three gold statues… spend your evening surrounded by them drink in hand, basking in your own glory.

Elton John
In honour of the iconic performer coming to our shores soon, and of course the film Rocketman that was released this year, dressing up as Elton John feels altogether appropriate. There are no real rules for this one, but we suggest big glasses, lots of sparkles and high shoes.

The Fiji Water girl
Emulate the girl who stole the show at this year’s Golden Globes and cemented herself as an iconic 2019 meme. Just throw on a full-length blue dress and carry a tray of Fiji Water with you at all times. Photobombing recommended.

Margot, Brad or Leo in Once Upon a Time in Hollywood
The perfect excuse to don some effortlessly cool, 70s-inspired outfits, this film served up a raft of costume inspo when it hit cinemas a few months ago. Whether you’re a Hawaiian-shirted Brad Pitt or a mini-skirted Margot Robbie, this is for anyone who wants to look good this Halloween.

FaceApp
Sweeping the world up in a daze of face-morphing fun, FaceApp might have had dubious underlying features (hectic data-mining), but boy was it fun. To create this costume, simply apply makeup that makes you look about 25 years older and don a grey wig.

Billy Ray Cyrus and Lil’ Nas in Old Town Road
Considering it was the longest-running number-one single in Billboard’s history, Old Town Road certainly deserves a place on this list. To speak to the song’s unique mish-mash of genres, go for a look that is part country, part hip-hop, part disco — and throw in some pageant-girl bling for good measure. Cowboy hat mandatory.

Andy King in Fyre: The Greatest Party that Never Happened,
Fast becoming the poster-boy for ‘commitment-to-the-cause’, Andy King caused a stir on social media when he spoke of the extreme measures he almost went to to get a shipment of Evian water released to the doomed Fyre Festival. Speaking to camera, Andy’s shocking story made him the breakout star of the doco. To emulate his look, simply wear a blue checkered shirt under a black pullover, throw on a grey wig and carry a bottle of Evian with you wherever you go.

Queen Elizabeth
Queenie has been having a bit of a moment. She’s the subject of a hit Netflix show (the second season is set to land in November), and her various outings have birthed a number of memes. Recreate all the pomp and ceremony of our beloved monarch with either a modest dress, sash and some crown jewels. Or, wear a brightly-coloured suit with matching hat and a small, black purse. Bonus points if you can corral some corgis to follow you around.

Freddie Mercury
The biopic about this singer’s life with iconic band Queen was received to much critical acclaim and his various outfits lend themselves perfectly to Halloween. We suggest recreating his Live Aid look complete with a white singlet, blue jeans, armband and a handlebar moustache.

KIDS IDEAS:
While some of the above ideas can be downsized to create funny kids costumes, we thought we’d add in some extra inspo for the little ones.

Kardashian-West Kids
Dress your kids like the infamous clan of Kim Kardashian and Kanye West by putting them in dusty tones of head-to-toe monochrome and sneakers.

Fast food
This one is a classic for wee ones and always delivers hilarious looks. Whether it’s a hot dog (a la Chrissy Teigan and John Legend’s kid) or a hamburger, or fries — the costumes are relatively easy to find or make and will make for excellent 21st throwbacks.

A Politician
Because let’s be real, there have probably been a number of times you’ve wondered whether a bunch of children are running the show, both here and overseas. And babies in suits are very cute.

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The boy blazer is the piece of the season — here’s how to nail the trend

As androgynous styles come to the fore, the oversized blazer is the new hero piece — its masculine shape offering a surprisingly flattering fit on the female form.

With structural shoulders and a loose fit through the body, the boy blazer is best worn with more fitted pants (and heels if you’re feeling spicy), but really, looks good with anything. So next time you buy a blazer, maybe peruse the men’s section too, or simply opt for one size up. Or, if you’d rather try before you buy, delve into your partner’s or dad’s wardrobes, you never know what gems you might find.

That said, in a bid to help you get on board with this trend, we have rounded up a number of our favourite boy blazers available right now.

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SEE ALL SLIDES |

Helen Cherry Patch Pocket blazer

Helen Cherry Patch Pocket blazer

Helen Cherry Patch Pocket blazer

Helen Cherry Patch Pocket blazer

From Workshop

Georgia Alice Bobby blazer

Georgia Alice Bobby blazer

Georgia Alice Bobby blazer

Georgia Alice Bobby blazer

From Simon James

Isabel Marant Etoile Verix wool suit jacket

Isabel Marant Etoile Verix wool suit jacket

Isabel Marant Etoile Verix wool suit jacket

Isabel Marant Etoile Verix wool suit jacket

From Workshop

Valletta tuxedo jacket in Merlot

Valletta tuxedo jacket in Merlot

Valletta tuxedo jacket in Merlot

Valletta tuxedo jacket in Merlot

From Dadelszen

Anna Quan Sienna twill blazer

Anna Quan Sienna twill blazer

Anna Quan Sienna twill blazer

Anna Quan Sienna twill blazer

From Net-A-Porter

Rebecca Taylor boucle plaid blazer

Rebecca Taylor boucle plaid blazer

Rebecca Taylor boucle plaid blazer

Rebecca Taylor boucle plaid blazer

From Muse Boutique

Raine Garber blazer

Raine Garber blazer

Raine Garber blazer

Raine Garber blazer

From Superette International

ROKH oversized houndstooth blazer

ROKH oversized houndstooth blazer

ROKH oversized houndstooth blazer

ROKH oversized houndstooth blazer

From Net-A-Porter

Anine Bing Becky blazer

Anine Bing Becky blazer

Anine Bing Becky blazer

Anine Bing Becky blazer

From Superette

Coveted

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We’re eyeing up the new Victoria Beckham collection that has just landed at Parker & Co.

With seasonal change comes the inevitable need for a wardrobe upgrade. And while I’ll delve more deeply into the best investment pieces for the warm season next week (keep an eye out), there is one thing you should start considering now — sunglasses.

Recently, a selection of Victoria Beckham eyewear — from the brand’s Fall ’19 collection — has landed at Parker & Co., and we’re eyeing up a few of the new styles as top contenders for our summer shades.

Handmade in Italy, the sunglasses in this new collection are unmistakably Victoria Beckham, exemplifying the brand’s signature aesthetic of minimalistic luxury. That said, there’s something distinctly cool about these styles too — perhaps more so than any previous collections we’ve seen.

The navigator shape, for instance, offers a classic, almost 70s-inspired look, with a double nose bridge and exposed lenses. Playing on our current penchant for nostalgia in fashion but elevated via Victoria Beckham’s refined touch, these sunglasses are as versatile as they are ‘on-trend.’

While the other two new styles — one, a unique take on the cat-eye, the other an architectural, flat-fronted shape — offer more sleek looks, and are available in tones like tortoiseshell, burgundy and teal.

With Victoria Beckham optical styles arriving as well, these latest additions to the Parker & Co. line up are exactly what we’ll be wearing in the coming months… and we very much encourage you to follow suit.

Parker & Co.

26 Nuffield St
Newmarket
Auckland

(09) 524 8828

www.parkerandco.nz

Coveted

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With its cool, 70s-inspired interiors, this quirky home is a masterclass in modern style

You’d be forgiven for thinking, upon first glance at this Armadale home, that its Simone Haag-designed interiors reflected a kind of minimalist sensibility. After all, the pared-back, light timber floors, neutral walls and steel-framed entranceways seem to indicate a pervasive aesthetic of simplicity. But peek into the dining or living areas and you’ll see why this isn’t the case.

The former, despite its undeniably simple bones, has been imbued with character via geometric, quirky pendant lights, mid-century-style rattan chairs and an imposing artwork by Jake Wood-Evans. The latter offers a masterclass in subtle showmanship, where the clashing patterns of the large, yellow rug and the speckled stools create an air of eclecticism without ever feeling over the top.

Left: Knoll’s Cesca chairs by Marcel Breuer from Studio Italia

This is largely due to the way in which Simone Haag employed easy, luxurious furnishings — a combination of classic, custom and vintage pieces — in a light grey palette, to avoid any kind of battle for attention in the space. Pink-toned wooden cabinets flank the linear fireplace and lend the living room an inherent warmth, their rosiness reflected in an arching lampshade and sculptural, rattan armchair. While on one wall, a touch of personality is seen in the various, sculptural vases and objects that line the deep green shelving unit.

Cassina’s Maralunga sofa from Matisse

With her shrewd use of materials and the courage to pursue creative flair, Simone Haag has created spaces in this Armadale home that, in some ways, hark back to the sensibilities of the 70s — without the unnecessary frills.

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Meet Lee Gibson: The Kiwi multi-hyphenate who is one of the lead footwear designers for Nike

As far as sneakers go, there aren’t many as highly regarded or universally loved as Nike’s Air Max 1. It is arguably the most famous sneaker in the world. So when Nike decided, in 2017, to mark the iconic style’s 30th anniversary by reimagining the silhouette so that it recaptured the same magic as its Tinker Hatfield-designed original, it was a significant moment for both the brand and its community of followers. It was also something that Lee Gibson, one of the lead footwear designers at Nike Sportswear and the person tasked with leading the redesign (also, incidentally, a Kiwi) counts among his proudest moments. “I worked for about a year with engineers, pattern makers, other footwear designers and all these material experts to try and get us back to what the original shoe was like,” he tells me, “and seeing the shoe finally come out, and seeing people’s reactions to it felt like such an achievement.”

That Gibson had the wherewithal to tackle something as zeitgeist-y, as recognisable and as treasured as the Air Max 1, speaks to his character. Despite holding what is acknowledged as one of the most coveted job titles in the landscape of footwear design, Gibson doesn’t seem the type to get caught up in semantics. His success seems to have grown from an insatiable appetite for learning, and a refusal to be confined to any kind of creative box, which has seen him embody the idea of a ‘multi-hyphenate designer’ in the truest sense of that often-overused moniker. “In the early 2000s there was this push towards extreme specialisation,” he tells me, speaking about the creative industries in which he trained and now works, “but I was always on the other side of that because I wanted to mix it up, to be able to change things around and not always feel like I had to design the same thing.” He laughs, “what’s that saying… Jack of all trades, master of none?” 

Gibson isn’t being glib. Nor is he simply perpetuating that Kiwi stereotype of downplaying success. His ability to work across various design disciplines has seen him undertake creative projects in a number of fields and seems to be one of the driving reasons behind his success. 

Growing up in Bennydale, a small town in King Country, Gibson explains how it wasn’t until he started at Wellington’s Victoria University (studying architecture) that he really figured out what he wanted to do, and even then, it’s an idea that has remained fluid and dynamic to this day. “I was always interested in drawing and making,” he explains, “and I had some advice from a neighbour that if I wanted to get into a creative field, architecture was a good place to start.”

Left: Lee Gibson

At university, Gibson was exposed to other creative disciplines like industrial design, which saw his architectural work veer off the traditional path. “The architecture I was immersed in at uni was focused mostly around the conceptual, the theoretical,” he says, “but I saw industrial designers who were actually making products that people could use, so I started using the same kinds of design processes to build my architectural models and I became really interested in the tension and crossover between the two areas.”

This idea of deviating from the designated path seems typical of Gibson’s education and career. His wide-reaching interests and abilities outside the traditional bounds of architecture led to him seeking work in adjacent fields, and after a stint as a lecturer at his alma mater, a desire to further his own education took him to New York’s prestigious Parsons School of Design to undertake a Masters in Fine Arts and Interior Design. It was the experiences he gained in New York — a mixture of unpaid internships and unconventional jobs for cutting-edge designers — that Gibson credits as having piqued the interest of the decision-makers at Nike five years ago, who he tells me were, at the time, looking for people that could deliver a different point of view. “They [Nike] were really interested in my eclectic background and experience,” Gibson tells me, “and at that point, I really felt like I could have been put into any scenario and apply what I’d learnt to any kind of design.” 

Confirming something I had already suspected, Gibson explained how the impressive rise of creatives like Virgil Abloh had really paved the way for a new breed of designer — one who didn’t necessarily have to excel in one area or monopolise a niche to be successful. Speaking to Nike’s collaboration with Abloh a few years ago, Gibson explains that he saw a big shift in the industry, especially for people like himself, saying, “people seemed to understand that yeah, I might not be a trained footwear designer, but that maybe I could come in and that my point of view would be valid… and I backed myself.”

The footwear industry is an undeniably saturated space. So it’s no wonder that when it came to someone like Gibson, who represented a departure from the norm, a company like Nike saw value in his potential. And while the designer acknowledges that it took a bit of risk on Nike’s part to hire him, his eagerness to learn as much as he could (call it a classic case of that Kiwi, roll-up-your-sleeves mentality) quickly mitigated any liability. “I have a drive and a passion for learning and for trying things I haven’t done before, so when anyone wanted help, I would put my hand up,” Gibson tells me, “I worked with engineers, I worked with developers, I worked with our research lab… and I was going home at night and doing tutorials to try and up-skill myself because I was working in such a different way from the other designers.”

Design process for the new Air Max 1

The design work that Gibson now does for Nike is the result of the creative and practical agility he gained by seeking to understand every aspect of the process. Having primarily been involved in designing shoes under the Nike Sportswear umbrella, which covers day-to-day, leisure styles for the brand, Gibson reveals that he is now starting to design high-performance shoes for professional athletes. “I’m really excited about working with athletes,” he tells me, “because it’s just such a different world and I feel like I can bring something a little bit fresh.” 

Citing Michael Jordan and the All Blacks as sporting entities he looked up to growing up, Gibson explains that to be able to now sit down with the likes of Lebron James and Russell Westbrook (both prominent players in the NBA) and gain insight into their personal stories and what has driven them to achieve such lofty career highs is inspiring. Recently, Gibson assisted on a
project to create a pair of pregame cleats for Odell Beckham Jr (a renowned NFL player) that flipped the script on the signature Nike Swoosh, seeing the red satin of the shoes covered in miniature versions of the iconic symbol. 

But Gibson isn’t one to forget his roots, telling me in between stories about iconic shoes and renowned athletes that he still finds inspiration back home. “The work that New Zealand designers produce is truly world class,” he explains, citing students he once taught as examples, which happens to include acclaimed interior designer Rufus Knight, (someone Gibson explains as a good friend and constant source of creative influence). 

Certainly not one to sing his own praises, Gibson, despite his objective success, still speaks in that slightly self-deprecating, unquestionably humble way us New Zealanders have built our reputation on. “I feel like I haven’t achieved anything yet, really,” Gibson says, continuing, “I still think my proudest moments have been working on shoes where most people don’t realise the hours of design work that have gone on behind the scenes — like with the Air Max 1,” for which the process was apparently painstaking.

For Gibson then, it seems the joy is in the act of creating. Of conceptualising, innovating and bringing to life the kinds of shoes that he was inspired by and collected when he was younger.

Nike Mayfly

“Around 15 years ago, Nike designed a shoe called the Mayfly,” Gibson tells me, after I ask whether he has a favourite sneaker in his own collection, “and the cool thing about that shoe is that it was designed to only last for 100 kilometres before falling apart, then you’d send it back to Nike and they’d recycle it for you.” It was designs like the Mayfly — ones that were cutting edge, ahead of their time and seeking to shift people’s perceptions around how something was made and question the idea of purpose — that Gibson seems to have used as cornerstones for his own unique ethos and methodology.

 This year, the designer worked on a project that created a number of new, concept-driven Nike Labels, seeing him and his team pull inspiration from Nike’s archives to reimagine the past with a contemporary filter. Resulting in sub-labels like the N.354, D/MS/X and THE10TH, the endeavour, in the way that it took something tried and true, something already in existence and imbued it with new meaning, felt emblematic of what Gibson himself represents — a changing of the old guard. 

the N.354, D/MS/X and THE10TH

And with issues like sustainability, as it relates to both antiquated manufacturing processes and the environment, a ubiquitous presence in mainstream footwear (now, 75 percent of all Nike apparel and footwear contains some recycled material, and the company is working towards a goal of using 100 percent renewable energy, globally, by 2025) it’s the designers that are unafraid to embrace change, designers like Gibson, who will likely be the ones to lead the industry into the future.

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Engagement season: These personalised rings will make for the perfect proposal

Chaumet, the historic French jewellery house, was built on a love story. The story of Napoléan Bonaparte and his beloved Joséphine, in fact. As such, Chaumet’s approach to arguably the most sentimental of all jewellery — the engagement ring — is all about giving couples the ability to create pieces that speak to their own love story in an authentic, individual way.

Chaumet’s Crown Your Love service offers couples the choice of 11 different engagement ring styles and the option to have a wedding band designed to sit seamlessly alongside. By booking a private appointment with the team at Parnell’s Hartfield Jewellers, a couple can compose their own style of Chaumet ring, deciding on the type of solitaire as well as the cut and carat size of the stone. Whether pear, cushion, princess or brilliant cut is preferred, couples will be able to find a diamond that perfectly suits their criteria of shape and quality, and will receive their specially-made ring within only a few weeks.

As far as the ring styles go, the options are vast and varied. The Éclat d’Éternité, for example, offers a pared-back design, a bright, airy solitaire and a subtle but defiantly sophisticated presence. The Joséphine collection, on the other hand, highlights Chaumet’s iconic tiara shape. While the geometric Bee My Love range feels like a more modern take on the engagement style of old.

Clockwise from top left: Joséphine Aube Printanière solitaire, Bee My Love solitaire, Liens d’Amour solitaire, Joséphine “Aigrette” solitaire, Bee My Love solitaire and Torsade de Chaumet solitaire all by Chaumet from Hartfield Jewellers

Chaumet’s Crown Your Love is offering an unparalleled opportunity for couples to secure a ring that is not only unique and meaningful to them but also feels like part of one of the greatest love stories in history, setting the precedent for a couple’s own love story to unfold.

Hartfield Jewellers

327 Parnell Road
Parnell
Auckland

(09) 373 2472

www.hartfield.co.nz

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