There comes a point in the season when Auckland’s appetite for the new and noteworthy softens slightly, replaced by a more primal craving. Not for theatre, nor culinary gymnastics, but for the steady, deeply civilised comforts of a proper steakhouse. Which is precisely when the idea of revisiting Jervois Steak House begins to feel less like a suggestion and more like common sense.
For years now, the Ponsonby institution has been doing what very few restaurants manage to sustain: consistency with swagger. While the dining scene pirouettes through trends, reinventions and occasional bouts of edible performance art, Jervois Steak House simply carries on delivering the sort of meal people actually want to eat. Excellent beef, generous sides, strong wine and a dining room that hums with the contentment of people who know they have chosen well.
Gochujang-glazed calamari, kimchi, and gochujang aioli
Walking through the doors feels rather like slipping into a familiar club. The lighting is flattering, the tables are alive with conversation, and the whole room carries the warm, confident rhythm of a restaurant that has long understood its purpose. It is not trying to be the cleverest table in Auckland. It is far too busy to be one of the most satisfying.
Chef’s selection, three of JSH favourite cuts
Naturally, the beef remains the headline act. Jervois Steak House has built its reputation on sourcing exceptional cuts and treating them with the kind of reverence usually reserved for rare watches or vintage Bordeaux. The Chef’s Selection remains the move for those unwilling to choose just one. Three premium cuts arrive together on a board like a small symposium on carnivorous pleasure, each offering its own argument for why steak remains the most persuasive food group.
Seared scallops, green garlic, shallot, Champagne butter sauce
Before that, however, there are the scallops. Seared and glossed with Champagne butter, green garlic and shallot, they are rich without tipping into excess. A gentle warm-up act before the main event begins, flexing its muscles.
The supporting cast performs its duties with equal conviction. Truffle mac ’n’ cheese is unapologetically indulgent. Onion rings arrive crisp, golden and dangerously easy to demolish. A serious red appears in the glass, and suddenly the notion of leaving any time soon feels deeply misguided.
Truffle mac ‘n’ cheese
Which, ultimately, is the magic trick Jervois Steak House has always performed so well. It reminds you that dining out does not need to be complicated to be memorable. Sometimes all it takes is a beautifully cooked steak, a generous pour, and a room that understands exactly how to look after you.
In a city forever chasing the next big thing, there is something wonderfully reassuring about returning to a place that already perfected its craft years ago.
Unveiled in Michael Rider’s Printemps 2026 collection, the New Luggage signals a poised revival of one of Celine’s most recognisable forms. Reworking the Phantom Luggage introduced under Phoebe Philo in 2010, this iteration softens the structure, lending the silhouette a more fluid, rounded ease while retaining its architectural authority.
left: Rosie Huntington-Whiteley wearing the Celine Phantom in 2012. Right: A$AP Rocky wearing Celine New LUGGAGE in 2026
Crafted in supple, high shine lambskin, the bag retains its signature front zip, including a subtle Smile variation that gestures to the house’s quiet wit. Heritage is referenced rather than replicated, with proportion and polish carefully recalibrated.
LITTLE LUGGAGE IN GRAINED CALFSKIN Sandcastle from Celine
LITTLE LUGGAGE IN GRAINED CALFSKIN Syrah from Celine
LITTLE LUGGAGE IN GRAINED CALFSKIN Black from Celine
Function remains integral. The Small transitions seamlessly from crossbody to shoulder, the Medium favours hand or elbow carry, and the Large offers everyday structure without rigidity. A pared-back Flat Cabas completes the offer. Rendered in classic black and deep brown alongside citrus, oxide blue, suede calfskin and Porosus crocodile, the New Luggage reasserts Celine’s ability to evolve an icon without diluting its edge.
There are homes that make you forget, almost immediately, that you are inside at all. Darling Point Penthouse, the latest Sydney project from Melbourne-based Mim Design, is one of them. Perched above one of the harbour’s most coveted stretches, the two-level apartment was conceived as a forever home for clients with a clear sense of how they wanted to live: calmly, beautifully, and as close to the water as possible.
The clients, a developer and an artist, came to Miriam (Mim) Fanning, Principal and Founder of Mim Design, having moved from a sizeable nearby property and were ready to distil their lives into something more considered. What they found was an apartment with spectacular views across Sydney Harbour and a compact footprint that demanded both discipline and imagination. The brief was simple in spirit if not in execution: create something calm and restorative. Arrival at the apartment sets the tone: a bespoke shiplap-clad entry door, the first of many finely wrought details, opens to immediate sightlines across a timber-lined stair and straight out to the glittering bay beyond.
The material palette does much of the emotional work. Pale oak floors and cabinetry, sea-foam green quartzite stone benchtops and splashbacks, light linen textiles and shimmering silk carpets combine to create an interior that feels, at every moment, like it is in quiet conversation with the harbour outside. In the kitchen, that quartzite runs the full length of the wall in one monolithic sweep, its undulating surface mimicking the movement of water with an almost uncanny precision. The island bench, with its tiered panelled cabinet fronts recalling the clinker planking of traditional boat building, anchors the space with both beauty and purpose. Finely profiled Vitrocsa glazing suites dissolve the boundary between the kitchen, dining and living areas and the expansive tiled terrace beyond, where the owners’ love of outdoor entertaining finds its natural home.
The living spaces are generous with light and restraint in equal measure. Deep rust and ochre artworks punctuate the walls of creamy plaster, providing warmth against the cool harbour palette without ever disrupting the sense of calm that pervades the entire apartment. A rendered fireplace and open shelving alcove with rounded profiles soften the linear geometry of the kitchen stone behind, while the furniture throughout speaks to a collector’s eye: pieces chosen for character as much as comfort, arranged with the kind of ease that only comes from genuine confidence. “We wanted the clients to feel like they were taking off on a voyage and getting lost in views of the ocean and clouds,” Fanning muses.
Upstairs, the main suite occupies a luxuriously scaled footprint that opens directly to the view, a non-negotiable from the outset. A generous walk-in robe finished with leather doors, stitching details, brass inlays and timber accents leads through to a bathroom that earns its own quiet reverence: swirling green marble forms a rounded double vanity of sculptural weight, slatted timber lines the walls, and a freestanding bath sits beside a hammam-style steam shower with the bay spread out beyond. It is the kind of room that persuasively makes the case for never leaving.
Darling Point Penthouse is, in the end, exactly what a forever home should be: deeply personal, quietly extraordinary, and entirely itself.
Wynyard Quarter has quietly gained a new neighbourhood Japanese spot that is refreshingly unpretentious.
There is a certain pleasure in restaurants that do not attempt theatrics. No grand unveiling, no overwrought concept. Just good cooking, an easy room and a menu that people actually want to eat from. AOI fits neatly into that category.
Recently opened in Auckland’s ever-evolving Wynyard Quarter, AOI leans toward the casual side of Japanese dining. The sort of place you drop into after work, before a waterfront stroll, or when the craving for sashimi and something grilled becomes impossible to ignore.
The kitchen draws on classic Japanese techniques but keeps the tone relaxed. The menu reads like a well-balanced tour through familiar favourites, beginning with small bites designed for sharing. Tuna and salmon tacos offer a playful opening, while plates of fresh sashimi arrive clean and precise, exactly as they should.
Sushi rolls follow, including a flamed salmon version that brings just enough theatre without veering into excess. From there, the menu moves naturally toward the grill, where richer dishes take centre stage. Stone-grilled wagyu beef delivers the kind of savoury satisfaction that needs little embellishment, while seared scallops offer a lighter but equally indulgent counterpoint.
Dessert keeps things simple and crowd-pleasing. A Basque cheesecake paired with azuki cream finishes the meal on a warm, softly sweet note, the sort of finale that encourages lingering rather than rushing for the door.
For daytime diners, AOI also offers an express lunch menu designed for the nearby office crowd. It is quick, well-priced and a welcome alternative to the predictable midday rotation.
In a waterfront precinct increasingly filled with polished hospitality concepts, AOI brings something slightly different. It is relaxed, approachable and built around the quiet confidence of good Japanese cooking.
As the evening sun gets lower, embrace the last of lingering summer evenings at SkyCity’s much-loved Golden Hour. From now until 30th April, the early evening dining experience invites guests to settle in at one of their award-winning restaurants, to enjoy specially curated menus and seasonal offers. Whether it’s a spontaneous catch-up with friends, a post-work bite, or an early dinner before a show, Golden Hour offers the perfect excuse to make the most of the last of the season. These are our picks for the best dining deals.
Available Tuesday to Saturday from 5pm — last order by 6pm. Three-course set menu for $75 pp
Leave the menu in the hands of Chef Sid Sahrawat with a curated three-course journey through Cassia’s rich Indian flavours. Moving from long-loved favourites to seasonal creations, the experience unfolds with a few thoughtful surprises. Book here.
Available Tuesday to Saturday from 5pm — last order by 6pm. Two courses and wine for $50 pp
Take a journey through the Pacific with a menu centred on Metita’s vibrant island flavours. Choose from roasted chicken leg, wood-fired snapper with umala and turmeric, or smoked potato and tarua gratin, before finishing with either Pasifik koko or a bright passionfruit dessert. Book here.
Available daily from 5pm — last order by 6pm. Two-course set menu for $55 pp
Begin with the chef’s sashimi selection and a nori taco maki, then choose between teriyaki king salmon, pork belly, or lamb rack, each served with rice and furikake. It’s a concise showcase of Nic Watt’s refined approach to Japanese flavours. Book here.
Available Wednesday to Sunday from 5.30pm — 6pm only. Two-course set menu for $60 pp
Step behind Huami’s red doors and settle in for a menu that celebrates the restaurant’s signature flavours. Begin with the famed tabasco prawns before sharing their iconic fruitwood-roasted Peking duck with pancakes. To finish, a bright citrus finale arrives in the form of mascarpone cheesecake with lemon sorbet. Book here.
Available daily from 5pm — last order by 6pm, bookings required. Three-course set menu for $70 pp
Begin with Mt Cook salmon crudo, then choose between seasonal ravioli, Angus flat iron steak with garlic butter, or the fish of the day. A side of triple-cooked beef fat potatoes is served to share, bringing a satisfying finish to this considered early evening menu. Book here.
Golden Hour also brings a more relaxed side to the evening, with a selection of light bites and shareable plates designed for casual grazing. Perfect for easing into the night, it’s an invitation to drop in after work for a drink and something small before dinner plans unfold. Guests can also sip on a signature Golden Margarita, crafted with 1800 Silver Tequila, golden kiwifruit, lime, honey and a hint of jalapeño spice, available for $19 throughout Golden Hour.
Available daily 4pm – 5pm, $19 1800 Margaritas during 4pm – 5pm.
Choose from a trio of $19 margaritas, including the signature Golden Margarita, a magenta-hued version with lychee and dragon fruit, or a refreshing green blend of cucumber and elderflower. Best enjoyed high above the city at SkyBar, where the fleeting golden light feels even more spectacular at 182 metres up.
Ease into the evening with a selection of Huami’s refined dim sum and dumplings, from Shanghai xiao long bao and XO chilli siew mai to squid ink prawn dumplings and pan-fried leek and pork parcels. Settle in by the bar or dine amongst the garden as the afternoon glow gives way to evening.
Catch the afternoon glow at Cassia with a selection of signature snacks, from prawn toast and goat cheese pao to a spiced lamb taco. Pair it with something from the curated drinks list and settle in as the evening begins to unfold.
Ease into the evening at Depot with a lineup of Kiwi classics, from buffalo fried oysters and Regal King Salmon tartare to wood-fired green-lip mussels with nori and miso butter. Perfect for sharing as the light begins to change.
Few pieces of furniture have achieved the cult status of the Togo. Designed in 1973 by Michel Ducaroy for French furniture house Ligne Roset, the instantly recognisable form has defined relaxed, modern living for more than five decades. With its low-slung profile, sculptural folds and signature pleated upholstery, Togo strikes a rare balance between visual impact and deep comfort.
Togo fireside chair and togo footsool from Ligne Roset
Togo small settee and togo footstool from Ligne Roset
Togo large settee and togo footstool from ligne roset
This weekend, the Ligne Roset Auckland showroom is presenting a Togo Flash Sale. For two days only, selected Togo pieces will be reduced by up to 60%, with Alcantara fabric designs discounted by up to 40%. (Sale excludes leather and limited-edition fabrics).
The sale runs Saturday 14th and Sunday 15th March and is available in-store only. Don’t miss your chance to secure one of the most beloved and enduring original furniture designs. This is a rare opportunity for those who have long admired the design classic.
A revolution is emerging across runways and new-season collections. Designers are leaning into a softer, more expressive femininity, embracing elements long associated with the Victorian era, such as lace, high collars, ruffled sleeves and fluid silhouettes. What connects these varied interpretations is a renewed appetite for emotion and craftsmanship, with delicate fabrics, intricate detailing and airy movement lending collections a sense of poetry and restraint.
The mood has carried seamlessly onto the red carpet, most notably through Margot Robbie during the press tour for Wuthering Heights. Robbie’s wardrobe has subtly echoed the film’s gothic romance, appearing in lace-trimmed dresses, corseted silhouettes, and rich jewel-toned fabrics that recall the windswept moors of the Brontë novel. Styled with chokers, sheer layers and dramatic sleeves, these Victorian-inspired looks translate the era’s melancholic elegance into a contemporary language, proving that romance is always in fashion.
Few motifs capture the romance of Paris quite like the bow. Introduced into the High Jewellery Solitaires collection in 2014, the Boucle creation by Van Cleef & Arpels quickly established itself as a signature. Now joining the permanent collection, it returns with renewed presence, reaffirming the Maison’s enduring dialogue between couture and jewellery.
The Boucle solitaire forms a ribbon of light, its asymmetrical curves evoking the suppleness of fabric freshly tied. Pavé diamonds trace a fluid swirl around the finger, creating a delicate interplay of brilliance and shadow. Negative space is used with intention, enhancing movement and allowing light to travel through the setting. At its centre, a diamond secured by four prongs appears anchored beneath a sculpted bow, its radiance intensified by meticulous openwork.
Behind this poetic lightness lies formidable savoir-faire. In the Maison’s ateliers, gold is shaped, polished and refined through a symphony of precise gestures. Each pavé stone is set by hand, while a custom-crafted bezel discreetly elevates the centre diamond, maximising brilliance.
Guided by over a century of expertise, the Stone Department selects only diamonds meeting the highest standards of colour, clarity and cut. Beyond the 4Cs, each gem is assessed by eye to ensure it aligns with the Maison’s distinctive aesthetic.
Within Van Cleef & Arpels’ universe of solitaires and wedding bands, the Boucle occupies a singular place. It is not merely a ring, but a gesture that transforms the fluid grace of ribbon into enduring light.
Few gifts are as enduring as a stunning wine when it comes to honouring life’s defining moments. Whether it’s a milestone birthday, a wedding, or the arrival of a new baby, wine offers something rare: a gift that grows in sentiment and significance over time.
According to David Nash, founder of The Wine Room, wine is not just something to be consumed; it’s something to be remembered. “Wine is a fantastic time capsule,” Nash explains. “If chosen well, it can mirror a moment in time, and years later, bring that memory flooding back with a single sip.”
For Nash, gifting wine is far more than the label or the vintage. It’s about the story it tells and the moment it preserves. “There’s something deeply human about opening a bottle that’s been waiting patiently for the right occasion. It becomes part of your narrative,” he says. When selecting a wine to mark a significant moment, Nash recommends choosing something age-worthy. “Great Bordeaux, vintage Champagne, Sauternes, these styles can comfortably age for 20 or 30 years or more,” he says. “And larger formats like magnums are ideal if you’re buying for the long term. They not only look impressive but also age more slowly and gracefully.”
One of Nash’s most sentimental gift ideas is wedding wine. “Assuming the couple married in a strong vintage year, you could gift a collection of wines from that year to be opened on milestone anniversaries; the fifth, the tenth, the twentieth. It’s the kind of gift that becomes more meaningful over time.”
Nash points to Dom Pérignon’s Plénitude Collection for those seeking something extra special, available exclusively through The Wine Room. These rare vintages — known as P1, P2 and P3 — are released after being perfectly aged at the Maison in Épernay for up to two decades. “They’re an extraordinary option for marking a birth year, a wedding, or a major achievement,” says Nash. “By the time they’re opened, the wine has already evolved into something truly profound.”
While the emotional value is undeniable, proper storage is crucial in protecting the wine’s integrity and future potential. At The Wine Room, clients can store their bottles in climate-controlled conditions for approximately $1 per bottle per month. “Storage is everything,” says Nash. “Even the best wine in the world will suffer if not kept properly. With certified cellaring, you can ensure the wine matures exactly as it should.”
Gifting a full case is also wise, allowing the recipient to enjoy one bottle now and revisit the wine over time. “It becomes a thread through their life. Tasting how the wine evolves as they do is a really beautiful experience,” Nash says.
Ultimately, he believes the best gifts are the ones that reflect thoughtfulness and imagination, and wine ticks both boxes. “There’s a sweet spot between passion and practicality,” he says. “You’re giving something that can be appreciated immediately, or held onto for a special moment. It might sit untouched for years, but when it’s finally opened, it brings with it not just flavour, but memory, emotion and meaning.” And that, Nash says, is the true value of wine as a gift. “It’s not just what’s in the bottle, it’s what it represents. A great bottle is more than just a drink. It’s a story waiting to be told.”
Shop here for The Wine Room’s curated wine selection or to gift an incredible tasting experience.
In a market saturated with fast fashion and fleeting nursery trends, Marmalade offers something rarer. Depth. Story. Permanence.
Conceived by Aucklander Lara Springhall after her frustration at not being able to source children’s pieces that felt genuinely creative and beautifully considered, Marmalade is a deliberate departure from the disposable. Everything she encountered felt either excessively cute or devoid of imagination. So she created a destination that prioritises craftsmanship and longevity over novelty.
Marmalade curates handcrafted homeware and children’s design that feels collected rather than consumed. Each piece is made by skilled artisans around the world. Nothing is mass-produced. Every object carries the imprint of its maker and the intention behind it.
Among the most poignant offerings are the personalised cushions by Big Little Store in collaboration with Julie Baby Punch Club. Founded during lockdown in Pretoria by Andel Olivier, each cushion is individually hand-punched and customised with a child’s name. Not printed. Not machine-embroidered. Crafted slowly and intentionally. As demand grew, Olivier brought women from her community into the Punch Club, creating employment that has funded education, housing and independence. The beauty of the cushions is inseparable from the impact behind them.
Another cornerstone label is House of Roro, founded by Belgian interior designer Anne Sophie Rosseel. Frustrated by juvenile design that underestimated children, she began creating furniture that invites interaction and independence. Named after her son’s teddy bear, the collection balances playfulness with restraint, producing pieces designed to evolve rather than be replaced.
This is Marmalade’s ethos. Craft over convenience. Story over spectacle. Design that respects childhood while honouring the home it inhabits.
Sanderson presents Murmur, a new exhibition by Damien Kurth that continues the artist’s exploration of philosophical concerns within the still life tradition. In this latest body of work, Kurth examines the concept of haecceity, a philosophical term describing the qualities that make something uniquely what it is.
Damien Kurth, Murmur II, 2026 Egg tempera, traditional gesso on board500 x 600 mm
Through carefully arranged compositions, Kurth captures the quiet presence of everyday objects. Mundane materials are delicately lit and positioned so their individual qualities become more apparent. Removed from their usual context, these objects are presented in new configurations that allow their characteristics and relationships to emerge.
Damien Kurth, Murmur XI, 2026 Egg tempera, traditional gesso on board 150 x 150 mm
Damien Kurth, Murmur VII, 2026 Egg tempera, traditional gesso on board 245 x 185 mm
Kurth works with traditional ground gesso and the historic medium of egg tempera, gradually building the surface of each painting through layered brushwork. Elements such as painted sheets of paper and masking tape subtly divide the picture plane, creating depth, while fluorescent post-it notes and crumpled foil punctuate the compositions and guide the viewer’s eye across the canvas.
Damien Kurth, Murmur IV, 2026 Egg tempera, traditional gesso on board 600 x 700 mm
Kurth’s work is held in collections across Aotearoa and internationally. He is the recipient of the Otago Polytechnic Painting Award and the Derivan Painting Award, and was Highly Commended at the Cleveland Art Awards. He has also been a finalist in the Adam Portraiture Award.
For nearly twenty years, Soul Bar & Bistro has treated the Bluff oyster season as a civic responsibility. Their annual lunch dedicated to the beloved southern gem is less a meal and more a ritual, a gathering of the city’s well-heeled and well-fed, united by brine, Champagne and enthusiasm.
This year, Soul has resisted the temptation to simply repeat itself. With its legendary oyster shuckers taking a well-earned pause, the team has chosen evolution over nostalgia. The result is The SOUL Summer Catch, a five-course seafood celebration that feels more considered, more composed and, somehow, even more indulgent.
Seafood risotto
The lunch order begins as it should, with two dozen Bluff oysters, served both natural and battered. A seasonal crudo follows, showcasing the freshest catch of the day with brightness and precision. Then comes crayfish, handled simply, allowing its sweetness to take centre stage without unnecessary fuss. A rich seafood risotto anchors the afternoon, luxurious and unapologetic, before a final sweet course ushers guests gently back to shore.
Each guest is welcomed with a flute of G.H. Mumm Champagne, because at Sou Bar & Bistro, this is how it’s done.
The event takes place on Thursday, 19th March from 12 pm to 3 pm, and is priced at $265 per person. With tickets selling fast, we suggest you gather your favourites for an afternoon to remember.
Battered bluff oysters
Denizen is giving one lucky reader the chance to win a table for four at this exclusive lunch, valued at over $1000. This is your chance to win one of Auckland’s most coveted tables.
To enter, head to Denizen’s Instagram post below and follow the instructions on our Summer Catch giveaway post. Choose your dining companions wisely. The best long lunches are built on sharp wit, generous pours and friends who understand that a Thursday can, occasionally, be gloriously unproductive. This giveaway is now closed.
In a city that prides itself on knowing where to dine, Soul Bar & Bistro remains one of our surest bets. This time, you might not even have to pick up the bill.
Last Thursday, Bravo did not simply open its doors. It arrived to a standing ovation. As the sun set across Westhaven Marina, Winton’s Chris and Michaela Meehan hosted more than 400 guests to experience their bold new venture, Bravo. With champagne in hand and the sun setting across Westhaven Marina, the sense of Winton’s arrival in Auckland’s hospitality scene was strong.
The weather, obligingly cinematic, revealed the venue at its very best. The northern light poured through the main dining room, spilled across the covered terrace and settled over the umbrella-lined seating overlooking the marina. It was the sort of evening that made you understand Bravo’s intent from the outset.
Guests grazed on canapés and local seafood, expertly crafted by the Bravo kitchen, while the bar flowed and conversations gathered momentum. The venue’s scale, capable of hosting up to 400, felt animated rather than overwhelming.
On the terrace, Peter Urlich set the tone, his DJ set carrying across the waterfront as supporters from around the country celebrated Winton’s first hospitality venture in Auckland. There was a sense of momentum in the air, of something considered and long-planned finally taking shape.
For those yet to visit, Bravo is more than an opening night spectacle. From morning coffee and rotisserie chickens ready for boat provisions, to long lunches, sunset dinners and book-a-berth arrivals by sea, it has been conceived as a true all-day address. The Ayrburn wine range threads through the offering, linking this new waterfront chapter to Winton’s now celebrated South Island success at Ayrburn.
Long before dashboards and diesel, Peugeot was perfecting the grind. The brand synonymous with sleek engineering began by working with steel, producing saw blades, springs for watchmakers and industrial components before designing its first coffee grinder in 1840. Pepper soon followed, and quietly, a culinary icon was born.
While bicycles and automobiles would go on to define its public image, Peugeot never stopped refining its mills. They are still manufactured at the historic family factory in the Doubs region of France, where everything is done on site. Wood is turned, varnished and painted by hand. Mechanisms are stamped, calibrated and assembled with the precision of fine instrument-making. Engineering, after all, is engineering, whether it powers an engine or perfects a grind.
The 18cm aluminium line salt mill exemplifies this marriage of heritage and modernity. Graphite-finished wood meets brushed aluminium in a contemporary silhouette that feels more like an architectural object than a kitchen tool. The polished metal button, engraved with the lion head, adjusts the grind with exacting control. The tighter the screw, the finer the salt. Simple. Precise. Satisfying.
The now-iconic Paris mill, introduced in 1987, remains Peugeot’s best-seller, evolving over the decades into a range of finishes, materials, and even dramatic oversized formats. Yet the philosophy remains unchanged. Performance first. Longevity always.
A story from the 1930s captures the brand’s quiet confidence. During a visit to American car factories, Jean Pierre Peugeot attended a grand banquet where he was told everything in the room was American. He picked up the pepper mill, turned it over and gently corrected the claim. Not everything, he noted. The mill was French. And Peugeot too.
It is this duality that makes the mills so compelling today. They are not novelty offshoots of an automotive empire. They are, in many ways, its origin story. Instruments of daily ritual, engineered with the same insistence on durability, calibration and elegance that defines the marque at large.
A twist of the wrist. Freshly cracked pepper. A reminder that true craftsmanship travels seamlessly from road to table.
March is shaping up as one of the most culture-packed months of the year in Auckland, with festivals, exhibitions and live performances filling the calendar. From large-scale arts and music events to theatre, design and days by the water, the city offers plenty of reasons to step out and explore. Whether you’re planning a night at the ballet, a weekend festival or a relaxed afternoon soaking up creativity, these are the events setting the tone for March.
Lexus Urban Polo returns to Auckland Domain for a day where high-octane sport meets polished socialising. Set against one of the city’s most picturesque backdrops, the event brings fast-paced polo action together with a relaxed, fashion-forward atmosphere, complete with flowing drinks, live music and a crowd that knows how to dress for the occasion. Whether you’re watching the match unfold from the sidelines or settling in with friends on the grass, it’s less about knowing the rules and more about soaking up the spectacle. A fixture on Auckland’s March calendar, Urban Polo is a chance to spend a summer afternoon outdoors, enjoying sport, style and a very good excuse for a long lunch.
Briana Jamieson, Rain Lilies (Gold), 2026 Oil on canvas, beech frame 1200 x 1000mm
Rooted in quiet observation and repeated gesture, Garden Day sees Wellington-based painter Briana Jamieson translate a year spent tending a community garden into a series of luminous works. Inspired by the rhythm of planting, growing and returning to the same blooms, the exhibition reflects Jamieson’s attraction to repetition as both a visual and emotional language. Fields of clustered flowers glow with calm intensity, shaped by memories of sunlight, shade, shared stories and moments of stillness among the garden beds. It’s a gentle, immersive body of work that speaks to care, patience and the restorative pull of nature, offering viewers a sense of pause within the everyday.
Where: Auckland Town Hall When: 9th March –15th March
Set beneath Luke Jerram’s radiant Helios installation, a series of early morning wellness sessions invites Aucklanders to slow down and start the day with intention. Hosted in the Concert Chamber at Auckland Town Hall and led by The Art of Living, the free programme spans yoga, meditation, breathwork and sound-led practices, each offering a different way to connect with stillness beneath the glowing sun artwork. Sessions are gentle, inclusive and suitable for all experience levels, with options designed for adults as well as younger participants. Mats are provided, and the atmosphere is calm, welcoming and quietly restorative. A rare opportunity to experience art and wellbeing together, this is a serene counterpoint to the usual pace of the city and a beautiful way to greet the morning.
Tom Dixon will be one of the headline speakers at NZDW 2026 Design Circuit
Where: Various locations city-wide When: 2nd –10th March
Across nine days in early March, the city turns its focus to creativity, innovation and the ideas shaping how we live now and into the future. Design Week brings together exhibitions, talks, workshops and installations across galleries, studios and pop-up spaces, spotlighting both emerging and established voices in the design world. From product and spatial design to conversations around sustainability and new ways of thinking, it’s a chance to dip into the creative community and see what’s happening behind the scenes. Whether you’re deeply embedded in the industry or simply appreciate considered design, this is a week worth weaving into your calendar.
Where: Various locations Auckland-wide When: 5th –22nd March
March marks the return of the Auckland Arts Festival, when the city becomes a stage for world-class theatre, dance, music and visual art. Spanning venues across Tāmaki Makaurau, the festival brings together bold international productions and exceptional local talent, with performances unfolding in theatres, public spaces and unexpected corners of the city. From thought-provoking plays to immersive installations and live music that carries long into the night, this is Auckland at its most creatively charged. Whether you dip in for one show or build your calendar around it, the Arts Festival is a reminder of just how vibrant the city feels when art takes centre stage.
Where: Auckland Art Gallery When: Now till the 15th March
An unmissable highlight at Auckland Art Gallery, Pop to Present brings iconic American art from the Virginia Museum of Fine Arts to the city. Spanning pop art classics and bold contemporary works, the exhibition charts how artists have shaped visual culture over decades. It’s a chance to take in familiar favourites alongside thought-provoking pieces that speak to now, all within the gallery’s stunning spaces. Perfect for a cultured afternoon, this show offers fresh perspectives and plenty of conversation starters.
Where: Kiri Te Kanawa Theatre, Aotea Centre When: 4th –7th March
Royal New Zealand Ballet brings Macbeth to life in a gripping performance at the Kiri Te Kanawa Theatre. This powerful interpretation of Shakespeare’s classic weaves dramatic choreography with a striking score to deliver a dark, mesmerising evening of dance. Expect commanding performances, intense storytelling and the company’s signature precision on stage. It’s a standout cultural moment in March, ideal for anyone who loves ballet that feels cinematic, bold and deeply expressive.
One of the biggest dates on Auckland’s live music calendar returns with the Mānuka Phuel SYNTHONY Festival, a full-day experience combining electronic dance music with a live orchestra and world-class production. Expect an expansive line-up of local and international acts across two stages, where iconic dance and pop tracks are reimagined with sweeping orchestral arrangements alongside DJs and live performers. With immersive visuals, food and drink villages and crowds gathering in the Domain through the afternoon and into the night, it’s an open-air celebration of sound that’s both epic and accessible. Whether you’re there for the beats, the spectacle or the atmosphere, SYNTHONY delivers a music-filled day worth marking in your March plans.
Where: Viaduct Event Centre, Jellicoe Harbour, Wynyard Wharf When: 5th – 8th March
Auckland’s waterways take centre stage at the annual Boat Show, a showcase of the latest in boating lifestyle and marine innovation. From sleek yachts and tenders to kayaks, water toys and gear, it’s a hands-on look at everything that makes life on the water great. Alongside displays from top brands, there’s expert advice, demonstrations and activities for everyone from seasoned skippers to curious newcomers. With the harbour as your backdrop and plenty of sun on offer, it’s the perfect event to plan your next summer adventure or simply soak up the buzz of all things nautic.
Get ready for a wild night out with The Rocky Horror Show at The Civic Theatre. This cult musical classic delivers all the fun, camp energy and audience participation you’d expect, with a high-octane cast and costumes to match. Expect big tunes, bold characters and plenty of moments that’ll have you singing along. It’s perfect for anyone after theatrical entertainment with attitude, whether you’re revisiting a favourite or experiencing it live for the first time. A standout choice for a memorable evening on the March calendar.
After a year of strategically dropping breadcrumbs of what was to come, limited capsules, carefully cast ambassadors and a cinematic teaser designed to stoke anticipation, Demna’s first full-scale statement for Gucci arrived on the penultimate day of Milan Fashion Week. By the time the lights dimmed, it was clear this was less a debut and more a detonation.
For Fall 2026, Demna framed Gucci as a living cultural organism rather than a heritage relic. The show unfolded in a vast neoclassical setting, heavy with marble figures, a pointed reminder that sensuality, proportion and spectacle have always been part of Italy’s artistic DNA. Against that backdrop, he proposed recalibrating the silhouette. Gone was the protective armour of excess fabric. In its place, clothes that followed the body with deliberate precision.
Second-skin dresses in technical hosiery fabric set the tone, clinging rather than concealing. Tailoring skimmed the torso and hip, cut in fluid cloth that moved like liquid. Jackets were styled with skirts, slim trousers and hybrid leggings-pants, suggesting wardrobes built on adaptability rather than costume. Even sportswear codes were refined into something sleeker, morphing into track-inspired dresses and sharply engineered separates.
left to right: Alessandro Michele, Donatella Versace, Romeo Beckham
Demi Moore
left: Andrea Kimi Antonelli. Right: Aryna Sabalenka
The craftsmanship was exacting. Edges are bonded to disappear. Hems curved to contour. Leather chosen for suppleness rather than stiffness, shaping bikers and trousers that felt lived in rather than lacquered. Volume appeared in flashes of feathered embellishment and plush outerwear, framing the face with theatrical flourish.
Accessories sharpened the message. The Bamboo 1947 was streamlined, its handle reworked for a more contemporary grip. Archival evening pieces were subtly reimagined for modern essentials. Footwear balanced minimal athletic references with the ease of classic Italian loafers.
And then, the closing moment. As Kate Moss stepped onto the runway wearing a white-gold iteration of the infamous Gucci G-string introduced by Tom Ford in 1997, the room understood the provocation. Within minutes, the digital echo chamber was in overdrive. Praise, pearl clutching, think pieces. Exactly as intended.
Demna has made no secret of his desire to design from instinct rather than theory. Fall 2026 reads as a study in confidence. Not quiet luxury, not stealth wealth, but clothes that declare their presence and invite reaction. In a cautious market, that kind of emotional clarity feels radical.
Few High Jewellery creations are as instantly recognisable as the Zip necklace by Van Cleef & Arpels. Conceived in the late 1930s at the suggestion of the Duchess of Windsor and realised in 1950, the design transformed an everyday fastener into a feat of technical and artistic mastery.
Functioning exactly like a real zipper, the articulated gold-and-diamond construction slides closed to form a necklace and fully fastens into a bracelet. It is ingenuity disguised as elegance, engineered with extraordinary precision by the Maison’s Mains d’Or to ensure fluidity, drape and seamless movement.
Van Cleef & Arpels Lapis Lazuli, Sapphire and Diamond necklace transformable into a bracelet, Zip Collection
Over the decades, the Zip has been reinterpreted in monochromatic gemstones, archival reproductions and elongated couture iterations, yet its core identity remains intact. Equal parts wit and virtuosity, it occupies rarefied territory as both technical marvel and collector’s trophy.
More than jewellery, the Zip is proof that true innovation never dates.
If you’ve ever woken up horizontal, with the dread and moral certainty that you wish you’d made more sobering choices the night before, then someone, somewhere in history, made a drink for you. Somewhat disturbingly known as the ‘Corpse Reviver’ this Victorian-era medicinal cocktail is designed not so much to cure the hangover as to negotiate a temporary ceasefire with it. Hair of the dog, but make it civilised. Make it French. Make it slightly dangerous.
Of all the historical drinks in the Reviver family, the No. 2 is the one worth knowing. Harry Craddock, the great American barman who fled the Prohibition era in the US and reinvented himself behind London’s infamous Savoy bar, included the recipe in his 1930 Savoy Cocktail Book with a serving note that remains the most descriptive of drinks writing ever committed to paper: “Four of these taken in swift succession will revive the corpse again.” Gin, Cointreau, Lillet Blanc, lemon juice, and a rinse of absinthe. Elegant, citrus-bright, and quietly lethal. Craddock also warned that drinking too many would have the opposite effect.
After fading into obscurity, the Corpse Reviver No. 2 was championed by classic cocktail enthusiasts during the craft cocktail revival of the early 21st century. And since then, modern mixologists have fine-tuned the recipe.
Now New Zealand batch cocktail producers Bariletto have used their expertise, reinterpreting the 1930s formula, by adding a new level of handcrafted refinement, rest it in charred oak barrels. The gin, cointreau, aromatised wine and absinthe linger longer, which results in a sophisticated sublime take on the classic Corpse Reviver No. 2. The result delivers more of an elegant tickle up, than a sucker punch.
Combine it with fresh lemon juice, shaken over ice, strained into a chilled coupe and served with a twist of lemon for a refined, discrete pick-me-up that absolves any lingering indiscretions or guilt of nights past. Consider your soul saved.
When a house built on Roman audacity selects its muse, it does so with intent. Bvlgari has announced Dua Lipa as its new Global Brand Ambassador, aligning one of Italy’s most storied jewellery maisons with one of Britain’s most commanding cultural forces.
It is a pairing that feels less transactional and more inevitable. Dua Lipa’s ascent has been marked by artistic autonomy and an unapologetic sense of self. Three Grammy Awards, multiple BRITs and billions of streams later, she stands as a defining voice of her generation. Not simply a pop star, but a global figure who understands the theatre of image and the currency of confidence.
For Bvlgari, whose heritage is rooted in Roman grandeur and sensual modernity, the decision underscores a continued commitment to strength expressed through style. Laura Burdese, Bvlgari Deputy CEO and incoming CEO as of July 1, 2026, describes the singer as embodying a contemporary vision of empowerment and freedom that aligns with the house’s values. The message is clear. Bvlgari does not merely adorn women. It frames them.
Dua Lipa wears High Jewellery Serpenti necklace in white gold 18kt with 2 pear brilliant cut diamonds (1.07 ct), and pavé-set diamond (68.46 ct)
Dua Lipa wears High Jewellery Serpenti ring in yellow and white gold 18kt with 28 marquise diamonds (2.75 ct), 8 round and pear rubies (0.28 ct), and pavé-set diamonds (1.37 ct)
Dua Lipa herself has spoken of the collaboration as special, noting the way Bvlgari’s pieces complete a look and elevate it into a moment. It is a sentiment that resonates. High jewellery, at its best, is not decorative. It is declarative. A Serpenti coiled at the wrist or a cascade of coloured gemstones at the collarbone does not whisper. It asserts.
The British artist has long demonstrated a fluency in fashion, moving seamlessly between couture ateliers and stadium stages. Her personal style oscillates between sharp minimalism and unabashed glamour, making her a natural conduit for a house that revels in bold silhouettes and unapologetic sparkle. In many ways, she represents the modern Bvlgari woman. International, self-assured and entirely comfortable occupying centre stage.
Dua Lipa wearing BVLGARI while performing at the Brit Awards 2026
This appointment signals more than a campaign. It marks a convergence of music, fashion and cultural influence at a time when brand ambassadors are expected to do more than pose. They must personify. Dua Lipa does precisely that. She is modern femininity in motion.
From the moment it opened, it was clear that Cora Studio was not simply another Pilates studio; rather, it was a considered expression of founder Mibella Villafana’s philosophy. One grounded in technical excellence, psychological insight and a deep understanding of how modern women actually want to feel. As a result of this philosophy, Cora has fast become one of Auckland’s most respected studios for intelligent movement and refined recovery.
With fifteen years of training across contemporary and classical Pilates disciplines, and formal study in psychology, Mibella’s approach has always been about more than choreography. Her Signature Burn has quickly earned its reputation not for intensity alone, but for its precision. Movements are layered intelligently. Corrections are nuanced. The room feels focused rather than frantic. Sessions are built on muscular precision rather than momentum. Instructors correct in real time. Posture is refined. Breath is considered. You are challenged, certainly, but never abandoned to flailing reps or theatrical fatigue.
It is this level of instruction that quietly distinguishes Cora. Instructors are carefully selected and mentored to uphold a consistent standard. Clients are seen, adjusted and supported. There is rigour in the programming, yet warmth in the delivery of each class.
Beyond the reformer, Cora’s commitment to intelligent recovery has further cemented its position as a fully integrated wellness hub. The contrast therapy zone, complete with Finnish saunas and twin cold plunges, is integrated seamlessly into the experience. Members move from reformer to heat, from heat to cold, allowing the nervous system to recalibrate as deliberately as the muscles have been engaged, understanding that resilience is built as much in recovery as it is in repetition.
Cora has built a community that appreciates that both the physical and emotional effects of this are cumulative, and over time, the energy becomes sustainable, and the nervous system is revived. It is the seamless integration of strength and recovery as a single philosophy.
Yet for all its polish, Cora remains deeply approachable thanks to an atmosphere that is elevated yet warm and inviting. Newcomers are welcomed with care, sharing space with regulars who linger in the lounge after class, tea in hand, as conversations unfold naturally between sauna rounds. There is a sense of shared commitment and community that can be rare to find. And a sense of collective momentum rather than competitive display.
As our interest in longevity and nervous system health continues to evolve, Cora feels entirely ahead of the game in meeting modern wellbeing demands. This is also why forward-thinking corporates have begun using Cora for team resets and leadership days. Strategy sessions follow movement. Reflection follows recovery. People leave clearer than they arrived.
Cora has achieved what many promise but few execute: intelligent instruction, considered recovery and a community that feels as good as it performs.
For more exclusive access to what the city has to offer, engaging content, excellent imagery and thought provoking commentary on the life that surrounds you, subscribe to Denizen magazine now.
