As the co-owner of Grey Lynn local Lilian, alongside Hugo Baird and Otis Gardner Schapiro, Willy Gresson understands the ingredients of a successful restaurant. We asked him to serve up the details of his influences and inspirations.
My personal style is: Relaxed, comfortable, neutral colours — being on your feet all day and night you want to be comfortable for sure, I like my t-shirts slightly baggy to give a bit of leeway in the winter months.
The last thing I bought and loved was: New sunnies, can never have too many pairs of shades.
On my wish list is: To buy a house.
Chamonix
An unforgettable place I visited was: Chamonix, France. It was a family trip when I was 16 and one of the most beautiful places I have ever been. I would love to live in France for a while, learn the language and immerse myself in their culture and lifestyle.
The next place I’d like to go to is: Melbourne and Sydney. I still have a lot of friends and family that I haven’t seen in a while living in Sydney and would love to check out the dining scene in Melbourne.
An object I would never part with is: A gold ring I was given by my grandfather. I don’t wear it all the time but it’s a special family keepsake.
The last thing I added to my wardrobe was: A pair of new pants from Commoners.
The person that inspires me: Peter Sullivan, my old boss at Chiswick Restaurant in Sydney. His leadership, passion and ethos in hospitality is something I look up to and try to pass on to my staff.
My favourite app is: Pinterest and Spotify. I love finding new things especially music.
If I had to limit my shopping to one neighbourhood it would be: Paddington, Sydney. I lived there for three years and it has pretty much everything you need from clothing, groceries, bars and restaurants.
Dylan Rieder
My style icon is: Dylan Rieder, seriously slick operator. R.I.P.
The best book I’ve read in the last year is: American Dirt by Jeanine Cummins.
I can’t miss an episode of: Don’t watch much TV but The Chase is always a good watch.
In my fridge you’ll always find: Anathoth Farm Tomato Relish and Best Foods mayo. Slap that on some Vogels with anything and you’re away laughing.
I recently discovered: During the lockdown I have been doing things I don’t usually have time for. Reading and bike rides are probably top of the list.
The people I rely on for my wellbeing are: My girlfriend, mum and dad. I also have an amazing group of tight friends and we all rely on each other in one way or another. I think surrounding yourself with people you admire and have fun with is hugely important for your wellbeing.
Ken Griffen’s work on the wall at Honey Bones
The one artist whose work I would collect (if price is not an issue) is: I’m not really an artsy person but I really like Ken Griffen’s work. We have one up in the cafe and people are always asking about it.
The last meal out I had that truly impressed me was: Pici, simple and delicious with great service.
The best gift I ever received was: I’d been eyeing up some shoes for a while, so a group of mates got together and bought them for my birthday. It meant more that they’d gone to the effort to work out what I’d love.
The last music I downloaded was: Mac Miller — Circles.
If I wasn’t doing what I am, I would be: I have no idea and have been doing hospo since I was still at school.
For anyone watching, it would seem Chelsea Winstanley (Ngāti Ranginui, Ngāi Te Rangi) has reached the apex of a successful career in film. However, the Academy Award-nominated filmmaker will happily tell you she’s still on a journey to discover what this looks like, both for herself and for the stories she wishes to champion. With an impressive amount of projects on the go and in the works, Winstanley’s storytelling prowess is as multi-faceted as the woman herself, and her formidable drive means that, whether pitching to Hollywood executives or putting her all into independent projects, she is a force to be reckoned with.
Raised in Mount Maunganui, Winstanley’s entry into film came “probably later than most”, but after majoring in film production at AUT and graduating top of her class with a Media Peace award for her first-ever documentary, even juggling single motherhood as a 23-year-old, Winstanley shone. Now, with nearly 20 years’ experience as a writer, producer and director, she is one of Aotearoa’s foremost trailblazers in the industry, with a unique and assured point of view that she wields with beauty, courage and sensitivity.
In 2014, she co-produced hit vampire mockumentary What We Do in the Shadows with her former partner Taika Waititi and Jemaine Clement (it became that year’s highest-grossing local film), and was the sole producer on acclaimed documentary Merata: How Mum Decolonised The Screen, which was picked up for distribution by famed US filmmaker Ava DuVernay. Winstanley became the first indigenous woman to be nominated for a Best Picture Academy Award after producing Jojo Rabbit and, this year, was recognised as a Kea World Class New Zealand Award winner.
With a passion for story sovereignty among indigenous peoples — particularly Māori women — Winstanley has dedicated herself to furthering these voices in the stories she tells. With her global outlook and connections, she is bringing Māori and indigenous voices to the world. Early in 2020, Winstanley founded production company This Too Shall Pass, under which she is currently working on a documentary feature film about the landmark Toi Tū Toi Ora exhibition that showed at Auckland Art Gallery Toi o Tāmaki, earlier this year.
Coming up, she and co-producer Tweedie Waititi have secured the rights to dub and release two more Disney films — (you may have heard of them, The Lion King and Frozen) — in te reo Māori, following the success of the te reo version of Moana. Here, Winstanley reflects on her journey thus far and shares her thoughts on the industry, her process, motherhood and overcoming imposter syndrome.
When I was young I had an imaginary friend called Kak. She was so real to me. I would make my dad set a place for her at the dinner table, insist the front door be left open until she came inside, and I would squeeze into the middle of the back seat of the car so she could sit next to the window. My siblings thought I was crazy and I guess my parents put up with it. The significance of her existence became more apparent to me as an adult, when I started to delve into my past. When I was around seven and my parents split up, Kak and I would sit in the lounge after school, surrounded by every large object from the kitchen drawer — the place where the sharpest knives are kept. Everything we could muster, from the heavy sword-like knife sharpener, the egg slice, the carving fork… anything we could get our hands on. We sat there, on edge, waiting for dad to get home from work. She was my protector, my best friend and one day she disappeared. I’ve written a short film about her that I hope to make one day.
My passion for film first came about when I saw the merging of still and moving images in the documentary Bastion Point: Day 507 by Merata Mita. I had always been interested in photography and had not seen it used in such a creative way in storytelling before. There was something so arresting about it that made me think about film in a different way. Although I had seen movies at the cinema when I was young, my childhood was rooted in the beach at Mount Maunganui so I wasn’t immersed in cinema or living near a city that had a film festival, so my discovery was probably later than most.
The journey to where I am now has involved a lot of self-belief. When I started in this industry I had put myself through university as a 23-year-old solo mum of a two-year-old baby boy. I had an intrinsic belief that education was the only way for me to get out of the situation I was in, which at the time was a statistic. By all accounts I was a young Māori mother on the benefit with no prospects, but something inside of me knew this wasn’t it. Merata Mita once said, “when you have children, you have an investment in the future”.
I wanted my son to see me achieving and contributing to making the world more empathetic, more understanding and more tolerant, and storytelling was a way to do that. Taking the time to listen to someone else’s journey can be life-changing. I wanted my son to see that no matter what happens in life, you have a choice and to not be held hostage by your past. Accept, acknowledge and move forward. Allow your past to motivate you, not define you.
After university, my first job was at Kiwa Productions, a TV production company owned and operated by two wāhine Māori, Rhonda Kite and Libby Hakaraia. It was thrilling and exciting to be working with women I admired and who are still, to this day, making transformational changes for Māori participation in storytelling. I had made a short documentary for my final year at university, based on my cousins at my marae, Paparoa, who were running a tourism venture while also holding down full-time study. What they were doing was finding a way to transfer traditional knowledge to the next generation, while keeping the ahi kā (home fires) burning. I was in awe of my cousins and I wanted to celebrate them. I called that film Whakangahau (to celebrate/entertain) and I won a Media Peace Award for it. It was the affirmation I needed and I’m grateful because it said to me, in that moment, the path I had chosen was right.
I’m into shining a light on the positive in everything I try to do.
The stories I like to tell are based on celebrating and highlighting the beauty that is Māori. Simply for the fact that, despite the imperialistic pursuits of Britain and the subsequent devastating effects of colonisation, Māori are still here and we are thriving. Our love for the whenua and for one another are values every single person living in Aotearoa can live by. It is only fear of the unknown that inhibits our growth together as a nation.
We are so excited to have secured a further two Disney titles to dub, especially after the Moana reo Māori was so successful. The Lion King gives us a really good opportunity to be quite pan-tribal, and delve into different dialects from different iwi.
For us, first and foremost, it’s about being able to normalise te reo Māori. Disney is such a well-known product — we all know it as a brand and also one that is family-orientated. Because it can reach both Māori and Pākehā, it’s almost like an ‘in’ for people, you know how sometimes people feel a bit afraid to give Māori a go, or think that because they’re not [Māori] that they can’t, but it’s just not true. We all live here in this country, we should all be able to feel like we can have these languages.
The cool thing about The Lion King is it spans so many generations. The themes of morals and looking after the land and one another, are universal themes. We’re really excited that Disney is taking us seriously and that comes down to what Tweedie [Waititi] and her team delivered the first time with Moana.
A goal I have that I’m yet to realise is to korero te reo Māori fluently.
I’d like to be known for being part of a movement that was dedicated to equitable participation in storytelling.
People would be surprised to know that I am named after a Black American singer. Her name was Chelsea Brown. My mother named me after this singer but most people associate Chelsea with England and football — I don’t particularly like either.
My working process is intention first, the ‘how-to’ comes later. When I first started directing and telling stories, I was just fascinated with people and I was genuinely interested in other people’s journeys.
The best piece of advice I’ve ever received is “this too shall pass”.
I believe the fundamental factors to keep in mind when making a film are to ask yourself questions all the time. What is my intention? Am I the right person to tell this story? Will this story add to my spiritual growth?
Something I would like to see more of in the film industry is women at the table in every facet of the pipeline of filmmaking — from producing through to distribution. They don’t exist without each other and right now we do not (in Aotearoa) hold a position in distribution. I want to change that.
One of the most impactful cinema experiences I’ve had was going to watch Stop Making Sense, the Talking Heads documentary by Jonathan Demme. I loved it because I got to sneak in with my sister, who’s six years older than me. I remember watching her and her mates dancing in the aisles.
The most important lesson that life has taught me is “find the courage to stand up for yourself then stand up for someone else” — a quote from the formidable, late Dr Maya Angelou. I don’t believe in the singular or individual pursuit. We are stronger in numbers, we have to be. United we stand, divided we fall. It’s a classic imperialist colonial view to be an individual and it doesn’t work. Throughout history we have seen it played over and over again, and we see it now, with everything that is happening in the world from the current pandemic to mass migration due to famine, war and genocide to basic human rights. Most of the decisions that have led to the atrocities perpetrated by the human race have been made by men. It’s time to hand over the power. We would be better off if women were in charge.
Being a mother has taught me the hardest lessons in life but for that I am grateful. Compassion, love, empathy, selflessness, hard work, heartache and failure. Parenting is the hardest job ever. You have to constantly accept that the decisions you make were, or are, the best you could at the time, for the circumstance you were in. Upon reflection they might not be the best decision but you have to forgive yourself and know it is all part of your spiritual growth. As parents we need to be kinder to ourselves and to be in constant communication with our children about this. I have made some terrible choices but as Dr Angelou says, “do the best you can until you know better. Then when you know better, do better.” I love a good quote!
I perform at my best when my intention is in alignment with my soul’s purpose. It might be weird to say that, at 45, I’m just realising what that is. I really feel like I’m coming into my own, I’m more confident, and more confident to say I’m a storyteller.
The rules are meant to be reimagined.
I would love to collaborate with many people. One is Ripeka Evans, on a story about the women involved in the anti-apartheid Springbok tour movement in the early 1980’s.
I really admire people who, despite what life throws at them, get up and keep going.
While I try not to be too angry these days, I am disappointed that the entitled and privileged in Aotearoa continue to ignore the fact that their intergenerational wealth is accumulated off the back of stolen land and dispossession of Māori.
My definition of success is freedom. Freedom from self-limitation. The freedom that comes from saying yes, and not being afraid.
I’m most proud of the film Merata: How Mum Decolonised the Screen. It was an honour to work with her son Hepi. I learnt so much about her that I didn’t know. To have Ava DuVernay distribute it was my most proud moment as a producer. I love her fearless approach to participation in the pipeline of storytelling. She is a champion for women, people of colour and groups who have been traditionally left out of the storytelling process. Without her support, the film would not have been seen throughout the world.
The personality traits that have contributed to my success are self-belief, tenacity, happiness, gratitude and gut instinct.
The future for me looks incredible. I am moving into spaces of the film pipeline that we have never occupied before. I am more confident in my choices as a director, writer and producer. I feel incredibly grateful but most of all, free.
Home is transient. I am happy to be living in Tāmaki Makaurau for now, my heart will always be in Tauranga Moana, and I look forward to the time we can travel again and see the world.
Something I want to instil in my children is a love for their culture and language and for them to know they have nothing to fear except fear itself.
The biggest thing I’ve had to overcome is imposter syndrome. When I was a child, I was not taught that I could belong anywhere I wanted to, so I have spent a long time trying to prove that point. I don’t, so much, anymore and I am not sure if that comes down to confidence, age or just not paying attention to that nagging voice anymore. I am enough, I’m enough for me.
I will say this: I accept that I am a work in progress and that life is a soul journey — right now I am just doing the best I can.
While we can’t get everyone together for after-work drinks at Hotel Ponsonby at level 4, we can bring the party to our place with the establishment’s Espresso Martini recipe. It’s sure to shake things up.
Hotel Ponsonby’s Espresso Martini Recipe Serves 1
Ingredients: 60ml vodka 30ml coffee espresso or cold brew 15ml coffee liqueur (Kahlúa, Mr Black etc) 15ml sugar syrup
Method: 1. Add all ingredients to your shaker or vessel. 2. Shake with ice and strain into a glass. 3. Garnish with coffee beans or coffee grind.
Juvenile, thick, blobby, shapeless, comical. While these might not usually be overly positive words with which to describe something, when it comes to one of design’s current favourite trends, these characteristics couldn’t be more charming.
Surely you will have seen, inside the homes of myriad tastemakers and on the curated social media feeds of savvy aesthetes, plush and squishy furniture pieces resting benevolently in the space, looking almost like something out of a Pixar film. Pieces like Gubi’s Pacha sofa and Moooi’s Hortensia chair; Faye Toogood’s Roly-Poly chairs, or Arflex’s Botolo armchair — rendered in an irresistibly fluffy finish, the latter would certainly not be out of place in the film Monsters Inc.
The Neotenic Collection by New York design studio Jumbo. Photo: Pippa Drummond.
These amorphous, chunky shapes are everywhere, and it’s a prevalence that has been steadily building in popularity for over ten years — although many of the pieces have been design icons for decades. In 2019, a widely attended exhibition held in Brooklyn examined this genre of design, curated by Justin Donnelly and Monling Lee of renowned New York design practice Jumbo. Donnelly coined a term to describe them: Neotenic.
Pacha sofa by Pierre Paulin for Gubi from Cult Design.
In science, the definition of neoteny is, essentially, the retention of juvenile physical attributes through maturity — in humans and animals. In Donnelly’s context, the reference was to a theory proposed by Nobel Prize-winning ethologist Konrad Lorenz who, in the 1940s, posited that juvenile features in baby animals elicit a nurturing response. In other words, he was talking about cuteness and how it attracts us.
It’s no wonder, then, that when we see something like the spongy Pukka chair by Yabu Pushelberg, we feel so drawn to it. In many of these pieces, their soft roundness is both comfortable and comforting in more than just a functional sense. They might be inanimate objects, but the response they induce is far from stiff and static.
Interestingly, Donnelly believed this overarching trend first came to the fore at the same time as the 2008 financial crisis, and while it has never truly receded, there is no doubt that the current fervour for these playful shapes is bubbling away enthusiastically. It seems logical that, given the dark and stormy state of the world right now, we would be drawn to a cheerfully simplistic lamp or a bright, squiggly chair.
The Family Home by Argyle Design features the Roly-Poly chairs by Faye Toogood for Driade from David Shaw.
This year, resulting (presumably) from much of the globe spending more time inside than usual, the evolution of the Neotenic trend is leaning towards forms that are even more pillowy and plump. The icon status of Mario Bellini’s bobbly Camaleonda sofa has reached new heights and Vogue reported in March that sales of Michel Ducaroy’s classic Togo Sofa (originally designed in 1973 for Ligne Roset) were up 203 percent.
From an interior curation point of view, both Neotenic and generally rotund pieces are often utilised for their ability to soften linear edges and silhouettes within the base architecture, a strategy that Matisse’s design consultant, Caroline Montague, corroborates. “Without a few soft curveballs, a new apartment can look like a hard-edged hotel,” she says. “New spongy, rounded Neotenic sofa designs blur the edges of rectilinear architectural features and turn that vast empty ballroom into an inwardly focused buffer of comfort and style.”
Structured materials like stone, wood, brass and tile are ripe for their role as a stoic backdrop to such playfulness.
Even as a response to mid-century style, one of design’s other key enduring furniture trends, softer pieces can be tastefully mixed in to provide balance and contrast, and are showstopping when employed with appropriate finesse.
The Brighton Colour Interior features the Moel chair by Inga Sempé for Ligne Roset.
The beauty of many of these pieces is that they are sculptural objects, offering functionality when in use and a visually interesting addition when not. Gaetano Pesce’s pioneering Serie Up 2000 armchair for B&B Italia is a prime example; with its undulating lines and anthropomorphous references, it is a work of art in its own right. While on the surface it might seem to embody Neotenic design, as Montague comments, it is also drenched in symbolism and meaning. “This chair is not a convergence of biomorphism, blobism and bug-eyed cutesiness. Gaetano Pesce’s streamlined fertility goddess with attached ball and chain is a layered, meaningful feminist statement from way back in 1969.”
The Collector House by Arent&Pyke features the Serie Up 2000 armchair by Gaetano Pesce for B&B Italia from Matisse.
It’s important to remember that, although some of the shapes may seem reductive, the design nous required to create many of these pieces is sometimes more complex and thorough than a more outwardly intricate object, given that they often appear effortless and rendered as one. For many designers, the impetus boils down to a desire to explore what magical results can be found when one homes in on the essence of an object — Montreal-based lighting design house Lambert & Fils ascribes to this notion with its Parc collection, designed to evoke the archetype of a flashlight with ‘naive and functional’ forms that call to mind childlike, makeshift creations.
While there is a place for the formal and ornate, Neotenic design and its successors are about highlighting the poeticism that can be achieved when furnishings are designed to be welcoming, embracing, almost earnest. What could be more adorable than that?
Left to right: Pacific armchair by Patricia Urquiola for Moroso from Matisse; Bellhop table lamp by Edward Barber & Jay Osgerby for Flos from ECC; Aalto vase by Alvar & Aino Aalto for Iittala from The Studio of Tableware.
Left to right: Infinity coffee table by Claesson Koivisto Rune for Arflex from Studio Italia, Plumy chair by Annie Hiéronimus from Ligne Roset.
Left to right: Botolo armchair by Cini Boeri for Arflex from Studio Italia, Oo table lamp by Eny Lee Parker, Pippi Dining armchair by Roberto Paoli for MIDJ of Italy from Sarsfield Brooke.
A favourite treat at the Little Culprit wine bar, these bierstick corn dogs are as much fun to make as they are to eat.
The secret is to choose a gourmet bierstick that is to your tastes. “We use very lightly cured nduja/chorizo biersticks made for us at Salash Delicatessen (which is open for online orders) or you can use your own favourite biersticks,” says Little Culprit‘s Kyle Street.
Little Culprit’s Bierstick Corn Dogs Recipe Makes 12
Ingredients 100g tempura flour 75g polenta (½ coarse, ½ fine) 1 tsp sea salt 1 tsp baking powder 200ml soda water, chilled 12 biersticks Flaky salt, to season
Method For the batter 1. In a medium-sized bowl, mix the dry ingredients and make a well. 2. Add the soda water and whisk the dry ingredients, adding more and more as you go. You don’t want to add all of the flour at once or lumps may form. 3. Whisk vigorously for one minute to activate the starch in the polenta and flour. 4. Pour into a mug or tall-sided glass and set aside. For the bierstick corn dogs 1. Pre-heat a benchtop deep fryer to 180°C or half-fill a tall sided pot with cooking oil and heat to 185°C. Pay attention to the temperature with a thermometer. 2. Peel the skin from each bierstick. (Sometimes it helps to score first and rub them with hot water). 3. Insert a skewer halfway into the bierstick. 4. Dip the bierstick into the batter, making sure that it goes up to the top of the bierstick and part of the skewer. 5. Place the skewer into the fryer and hold, allowing the batter to set for 5 seconds before letting go and gently pushing away with your hand. 6. Cook for 2–3 minutes depending on the thickness of your bierstick. 7. Allow to drain on a cooking towel. 8. Season with flakey salt and dip liberally into malt spiked ketchup.
While we’re the first to declare our love for the classic margarita, sometimes it pays to mix things up a little — or in this case, spice them up. Seeing as we can’t break bread and clink glasses with our nearest and dearest at Grey Lynn neighbourhood favourite Lilian, we’re doing the next best thing, which is making the restaurant’s orange and chilli margarita to ring in the weekend. Find the lip-smacking recipe below.
Ingredients: Small amount of fresh red chilli to taste, chopped 5ml agave syrup 45ml tequila (Lilian recommends using El Jimador Reposado) 15ml Cointreau 20ml fresh orange juice 25ml fresh lime juice Orange slice to garnish
Method: 1. In a cocktail shaker, muddle the red chilli in the bottom with the agave syrup. 2. Add the tequila, Cointreau, orange juice and lime juice to the shaker. 3. Shake vigorously and double strain over ice (preferably a large cube or sphere) into a short rocks glass with a salt rim. 4. Garnish with a slice of orange.
Over the last year, the number of us seeking escapism through our screens has markedly increased, with recently released series and films garnering not only critical acclaim but record-breaking viewing numbers. Chessboard nail-biter The Queen’s Gambit, for example, became Netflix’s most-watched miniseries just 28 days after it was released, while Regency-era romp Bridgerton was watched by a staggering 82 million households in its first month, becoming the highest viewed original series to date.
All this screen time is influencing not only our imaginations but our wardrobes, too. Film and television have long provided sartorial fodder for viewers to be inspired by — from Annie Hall to Breakfast at Tiffany’s; Almost Famous to Sex and the City. More recent highlights have included Killing Eve, The Undoing and Scandal. However, a particular theme we’ve picked up on of late is more specific; a spate of excellent, era-based releases has us channelling the styles and silhouettes of times gone by.
As Vanessa Friedman said in a piece for The New York Times: “Indeed, the most successful fashion films are usually not films about the industry at all, but films that use fashionable clothing as expressions of character.” The same rings true for dressing for life off-screen — what we wear can be a demonstration of who we are to the world. With these chic characters acting as inspiration, a stylish first impression is guaranteed.
Ratched If you’ve noticed that the fashion on television has gotten better over the last few years, you’re not alone. With series now wielding blockbuster-worthy budgets and star-powered casts, costume designers that previously may have only worked on films are lending their expertise to the small screen. A prime example is the brilliantly deranged Ratched, starring Sarah Paulson as the terrifying Nurse Mildred Ratched herself.
With its impeccable art direction and vibrant sets, Ratched is a feast for the eyes — and the fashion is a large part of this. One can take inspiration from any of the saturated 40s costumes, which act as a glamorous foil to the more dastardly acts portrayed. Co-stars Sharon Stone, Cynthia Nixon and Sophie Okonedo also hog the spotlight in their incredible ensembles, with costumiers Lou Eyrich and Rebecca Guzzi expertly crafting wardrobes that demonstrate a meticulous attention to detail.
Channel Nurse Ratched with cinched-waist silhouettes, bright pops of colour (with a particular focus on various shades of green), and refined accessories. If you’re feeling more lavish and louche, the ensembles of heiress Lenore Osgood (played by Stone) are undeniably showstopping with slightly more relaxed lines and plenty of ornate jewellery.
The Queen’s Gambit The aforementioned cultural phenomenon The Queen’s Gambit was certainly popular for its compulsive plot, but chess prodigy Beth Harmon’s polished yet wearable 60s style played a large part in its appeal — and this translated directly to clothing sales. Global fashion search platform Lyst reported that searches for checked-pattern pieces were up 43 percent month-on-month around its release, with coats being the most wanted product category.
Although the series is set during the Cold War era, Harmon’s style can be emulated with contemporary pieces, with current styles from the likes of Gucci and Miu Miu easily translating the aesthetic. Start with excellent outerwear — you might choose a checked coat to really home in on the theme, or a more simple cream number like Gucci’s cream wool rendition. Turtlenecks, layered pinafore-style dresses, Peter Pan collars, and high-waisted skirts will all have you feeling like a winner, as will finishing touches like loafers, leather gloves and sweet berets.
From left: Rebecca Dayan and Ewan McGregor as Elsa Peretti and Roy Halston Frowick in Halston; Bottega Veneta trench coat from Mr. Porter; Elsa Peretti for Tiffanybone cuff from Tiffany & Co.; Alexandre Vauthierdress from Matches Fashion.
Halston Based on the true story of one of fashion’s true iconoclasts — and his meteoric rise and demise — this five-part miniseries has no shortage of fabulous clothing from which to take a cue. Halston’s designs were beloved for their particular brand of glamour that hinged on assured simplicity, and in the show’s first two weeks, a 550 percent spike in searches for Halston pieces was recorded, as well as page views for halterneck dresses rising 132 percent. We suggest seeking out luxurious fabrics and streamlined silhouettes, whether forming a floaty silk kaftan or a sequinned jumpsuit. Given jewellery designer Elsa Peretti was a Halston muse, a piece from one of her collections for Tiffany & Co. is a must.
From left: Emma Stone as Estella in Cruella; Emma Thompson as Baroness von Hellman in Cruella; Christian Dior sunglasses from Parker & Co; Morgan midi dress from Camilla & Marc; Flower petal earrings from Partridge Jewellers.
Cruella On the silver screen, Cruella harnesses grunge and glamour, with Emma Stone’s transformation from Estella to Cruella demonstrated with a sartorial evolution into punky yet extravagant looks, inspired by Vivienne Westwood, Alexander McQueen and John Galliano. The structured, slightly old-fashioned gowns worn by Emma Thompson’s Baroness von Hellman were based on Christian Dior’s seminal New Look aesthetic.
If a taste for high-octane drama has carried over into your daily ensembles, we suggest channelling either one of this film’s formidable nemeses. There are several routes you could take — if you err on the side of the rebellious, seek out glam-rock leather pieces. For more polish, dabble in a colour palette of black, white and red. The Baroness might prompt you to go for sculptural shapes and attention-grabbing accessories. Either way, make sure you wear your attitude on your (voluminous) sleeve.
As the Marketing Coordinator for ECC, Chelsea Wrightson represents the world’s leading lighting and furniture brands exclusively in New Zealand. As a Highly Sensitive Person (yes, it’s a real condition), she is deeply moved by what she experiences. Here, she shares the design pieces she has her eyes on, and the philosophies she follows — both in life and in interior design.
My personal style can be defined by: Black and white with a touch of the right green.
The last thing I bought and loved was: Apple AirPods. Soon to be my greatest enemy when the impending misplacement of my first pod occurs.
An unforgettable place I visited was: Mexico City. Complete organised chaos subdued by a wealth of colour, cuisine, history, humble people and great doors.
The next place I’d like to go to: Cartagena, Colombia.
Cartagena, Colombia.
An object I would never part with is: A Morsø cast iron stove top dish my dad gave me when I left home. I’ll never use, nor will I need to buy, another ugly non-stick frying pan ever again.
I am inspired by: Anthony Bourdain. I coincidentally finished reading Kitchen Confidential on the eve of his death, and spent the entire day crying after. What a guy.
I recently discovered: The psychological term ‘HSP’ short for Highly Sensitive Person. A swift self-diagnosis was made when I identified with every single symptom. A nice relief not to feel like a freak.
My secret talent is: Keeping my whites white.
My favourite cultural/style icon is: Simon Porte Jacquemus. He is sunshine in a human being and I’m forever in awe of how he so creatively articulates his internal world.
Simon Porte Jacquemus.
My favourite app is: Apple photos. It’s become my visual gratitude journal.
I can’t miss an episode of: Country Calendar.
The podcasts I listen to are: Anything where Zach Bush is featured as a guest. His career story and research into microbiome are fascinating. I believe he’s worthy of a Nobel prize. On top of that, his disposition is so calm and collated. I often fall asleep listening to him.
The latest music I’m loving is: Ohio Players.
The best book I’ve read in the last year is: The Architecture of Happiness by Alain de Botton. I re-read it every year and take away something new each time.
The Architecture of Happiness by Alain de Botton.
In my fridge you’ll always find: Cheese. Lots of it. Pecorino, goats chèvre — reliable jazz-ups to any meal.
The last meal out I had that truly impressed me was: Akarua Kitchen by Lake Hayes.
The best gift I ever received was: My friends.
One of the best pieces of advice I’ve ever received is: Everyone you meet knows something you don’t. (A nice reminder to treat everyone with the same curiosity and open-mindedness).
I’m obsessed with the work of: The photographer Salva Lopez.
If price were not an issue, the one artist whose work I would collect is: Peter Schlesinger. I naively enquired about a piece when I was 18, only to be told it was USD$56,000. I had to settle for his book.
When spending money on furniture, I recommend: Treating everything you buy as a significant investment. Big price tag or not, if you have to stare at it every day, sit in or eat from it, it’s an investment into your aesthetic and practical world. Honour your senses, life’s too short to fill your home with pieces that offer you nothing.
The original inspiration for The Engine Room’s signature dish came from co-owner Natalia Schamroth’s friend’s mother, who would often make a single-baked soufflé for dinner. A volcanic-like savoury pudding was presented in the middle of the dining table for everyone to share, and sparked an idea.
“Long before The Engine Room existed, we would often make this soufflé for a very quick-to-prepare and most satisfying dinner,” says Schamroth, who makes this recipe at home with her husband, and other half of The Engine Room, Carl Koppenhagen. “This single-baked soufflé is a less rich and more precarious version of what we have been serving at The Engine Room for the past fifteen years. The twice-baked individual style is baked with an extra mountain of parmesan cheese and a lush creamy sauce. Both versions have a place in our world!”
So long as you stick to the science of this recipe, the flavours are easily adaptable, says Schamroth. Adding ham, caramelised onions or slow-cooked fennel would all work well.
The Engine Room Owners’ Single-Baked Cheese SouffléRecipe Serves 2
Method: 1. Heat oven to 200°C. 2. Use half of the butter to grease the bottom and sides of the baking dish. Use a little of the parmesan cheese to ‘dust’ and coat the butter. Place the baking dish in the fridge while you are preparing the soufflé. 3. Gently heat the milk until warm to the touch.In a heavy-based saucepan, melt the remaining butter, add the flour, stir over low heat for 5 minutes, until the flour is cooked but not browned. Carefully add in the milk to the butter and flour, in one go. Whisk fast until all lumps disappear. 4. Stir the sauce for 5 minutes, simmering over low heat then add the herbs, parmesan and grated cheese, stir until well combined. Transfer the mixture into a large bowl then beat the egg yolks in one by one until completely combined. Season highly with salt, pepper and nutmeg to taste, then set aside. 5. Beat the egg whites until they form firm, glossy peaks. Fold half of the egg whites into the cheese mixture until well combined. Then very gently fold the remaining egg whites into the mixture. Taste the mixture and re-season if needed. 6. Remove the baking dish from the fridge and pour the soufflé mixture into it. Run your thumb around the edge of the soufflé mixture. Place the baking dish into the centre of the oven – set a timer for 25 minutes (do not open the door)! 7. The soufflé will have risen and be golden brown on top. For a softer, creamier centre, remove the soufflé from the oven at this point. If you prefer a firmer texture, leave the soufflé to bake for a further 5 minutes. 8. Don’t hesitate, immediately take the soufflé to the dining table and serve with a large, wet spoon alongside a salad of your choice.
Tips: — You’ll need a heavy ovenproof dish that is approximately one and a half litres in volume, larger is better than smaller. — Choose any cheese you like; a salty blue, sharp cheddar or aged goat gouda all work well. — We like to add soft herbs such as chervil, chives and parsley but smaller amounts of thyme and marjoram are nice too. — Please note, the mixture needs to be highly seasoned before baking. — This makes a perfect light dinner or lunch alongside a fragrant salad. Our favourite salad to go with this is made with sorrel, witloof, chervil, parsley and roasted walnuts. And always a sharp, Dijon vinaigrette.
Coveted furniture brand Ligne Roset has remained a family business in France for over 160 years. Its highly-anticipated new Auckland showroom, Ligne Roset NZ, continues with the family theme — run by Managing Director Matt Dickson and his partner Marketing Director Monica Tischler, who have recently welcomed their son Jude. From vibrant floral artwork, including a recent Karl Maughan purchase, to Michel Ducaroy’s famous Togo chair, in limited-edition houndstooth no less, together they share some of their favourite things.
My personal style can be defined as: Monica: Modern and chic. Matt: Eclectic.
The last thing I bought and loved was: Monica: An artwork by Karl Maughan for our living room. Its bright florals bring a smile to my face every day.
An object I would never part with is: Matt: Our Togo in limited edition houndstooth print (pictured above).
An unforgettable place I visited was: Monica: Te Arai Lodge; a taste of Tuscany just north of Auckland. The hosts lovingly prepare meals for guests using fresh produce from the onsite gardens. Matt: The Flying Fox retreat, nestled on the banks of Whanganui River.
Te Arai Lodge.
The next place I’d like to go to is: Monica: Back to the yoga studio at Eastwest. Matt: France, hopefully within the next year or two!
The best book I’ve read in the last year is: Monica: Siddhartha by Hermann Hesse. Matt: Garlic and Sapphires: The Secret Life of a Restaurant Critic in Disguise by Ruth Reichl.
My favourite app is: Monica: Lightroom. I love photography.
My guilty pleasure is: Matt: Whittaker’s Peanut Butter chocolate.
The latest music we’re loving is: Monica & Matt: Muroki and Reiki Ruawai.
Wigmore Driveway, Hahei, New Years Day by Liam Gerrard.
If price were not an issue, the one artist whose work we would collect is: Monica & Matt: We couldn’t commit to just one so we would become extensive collectors of original New Zealand art!
My favourite cultural/style icon is: Monica: I admire anyone who is authentic in the way they dress and present themselves. To me, that’s iconic.
When I was younger, I wanted to be: Monica: An actress or television presenter. Matt: An architect.
I am inspired by: Monica: My friends and family, who are teachers, nurses, paramedics, psychologists and mothers. Collectively, their vocations make not just mine, but the greater world, a better place.
My secret talent is: Monica: As a first-time mother to our son, Jude, my newfound talent is being able to squeeze everything I want to achieve in the day into his nap windows. Sometimes that’s prepping dinner at 9am or attempting an express workout. Other times it’s sitting on the sofa indulging in Netflix.
The last meal out we had that truly impressed us was: Monica & Matt: We are impressed time and time again with the seasonal degustation menu at Lillius. The sourdough bread served as a starter is the best in the business. After one Sunday lunch, we were lucky enough to go home with a surplus loaf.
Lillius.
The best gift I ever received was: Monica: A gold ring for my 30th birthday, gifted by my family and hand-cast by my sister, Elsie, a jewellery designer. Matt: Our son.
I recently discovered: Monica: Unconditional love for our son, and a renewed appreciation for my mother.
I’m obsessed with the work of: Matt: French furniture designer, Pierre Paulin, is an absolute master of modernity. His exceptional body of work lives on, including in our home. We relax on his sofa, Andy, every day.
Ligne Roset Geoffrey mirror by Alain Gilles and Ligne Roset Togo Sofa and chair.
One of the best pieces of advice I’ve ever received is: Monica: Growing up, my mother told me: “Don’t be afraid of a broken heart.” It helped me to be fearless with the decisions I made, not just in love but in all aspects of life and its trickiness. It gave me the courage to endure temporary pain in order to enjoy a future that was authentic. Matt: In business, if you don’t do it, someone else will.
The one thing people should invest their money on when it comes to furniture is: Matt: Right now, if you are working from home, a good desk that is not only practical but beautiful would be a good investment. But in general, people should look to invest in pieces where they spend most of their time; for some that could be the bedroom, the living room or the dining room.
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