It is rare that a revered brand will reimagine their look — particularly one with an already-devoted following. But Cloudy Bay has decided to do exactly that, recently unveiling its 2022 vintage in a brand new bottle — one that feels like a timely evolution for the iconic brand.
Globally, Cloudy Bay’s contribution to the New Zealand wine industry has been significant. A pioneer of Marlborough Sauvignon Blanc since the 1980s, its subversive approach has helped put our varietals on the map. And no matter how much international acclaim the brand has garnered over the years, it has remained firmly grounded in its Kiwi roots. This idea has been taken to another level in Cloudy Bay’s stunning new bottle, which has been influenced by the splendour of the Marlborough surrounds and pays homage to the prosperous lands which shape its wine. And according to Yang Shen, Cloudy Bay’s Estate Director, it marks a new chapter in the vineyard’s evolution.
“We wanted to further embrace the beautiful Richmond Ranges that can be seen from our winery… Which were such a core part of the original Cloudy Bay label,” Shen explains.
Ideas of heritage, provenance and innovation collide on the new Cloudy Bay bottle, where the minimalist label has been even further refined — pared-back and modern and emblazoned on a canvas-feel paper stock. The Richmond Ranges motif remains at the forefront, embossed into the semi-frosted glass, offering a tactile experience that prefaces the taste. Shen notes that the bottle is a story of adventure, dedication and hard work, which reflects where the brand is now and where it is going.
Adding to the triumph of the new design, is the fact that Cloudy Bay’s recent season did not come without its challenges. As Marlborough endured troublesome weather and storms, Cloudy Bay’s vineyards have had to deal with a difficult harvest — all while its expert teams diligently executed an exceptional vintage that rises to the occasion of the new bottle. Being more citrus-forward, the new drop exemplifies Cloudy Bay’s signature dynamism and depth, with senior winemaker Nikolai St George recommending purchasing a few bottles for the year ahead, and keeping one or two extra to sample again in a few years — a suggestion we wholeheartedly support.
New Zealand’s musical success stories are more often seen taking centre stage belting out songs to adoring fans. But there are a raft of unseen musician-adjacent talents garnering some serious global recognition for their work in the industry. Los Angeles-based lighting designer, Ben Dalgleish is one such Kiwi making a big impact with his business Human Person (which he co-founded with Ian Valentine) to create on-stage magic for some of the biggest names and live performances in music. Here, the duo lift the veil on the industry, and give insight into how their creative work impacts audiences around the world.
When you see your favourite artist live, it is often nothing short of euphoric. The lyrics finally come to life, and for a brief hour or two, it feels like you’re entirely immersed in their world. In fact, many believe that the best kind of live performance appears seamless, as though the artist themselves had conjured the entire experience, almost out of thin air. It’s an idea that show & lighting designer Ben Dalgleish very much subscribes to, despite his job being one of the most important for bringing any artist’s stage-show to life. The Los Angeles-based New Zealander has worked with an impressive roster of international talent (including Billie Eilish, Janet Jackson and recently, Swedish House Mafia & The Weeknd, whose headlining Coachella show had to be created by Dalgleish and his team in a mere nine days) via his creative studio Human Person, a venture he co-founded that brings music to an almost palpable visual reality.
Award-winning lighting design for Post Malone’s world arena tour, 2019/2020.
When I sit down to talk to Dalgleish, the first question I have to ask is, what did he study to become a designer for some of the world’s biggest stars? The answer — he didn’t. Dalgleish jokingly brands himself as a high school dropout. Instead, he started his career by immersing himself in the thick of the music industry in New Zealand, working with the likes of Six60, before picking up overseas opportunities on international tours that eventually saw him land in LA. This is quite the contrast to his co-founder Ian Valentine, who was educated in the American college system, having studied digital art in New York City. It was purely by chance that the two wound up working on a show together — a fortuitous meeting that sowed the seeds for what would become a successful business relationship and careers that would take them all over the world.
For the duo, Human Person was designed to be an agency based on collaboration and recognition. In any one performance, they could be working with a crew of hundreds, and in an industry that demands that people pay their dues, recognition and respect can be hard to come by. The collaborative nature of his work is something that the designer reflects on often. “There can be a lot of ego in the industry, but Human Person is not just us,” Dalgleish shares. “The whole reason Coachella was special was because we had our entire team working on it from day one. We try to celebrate everyone.” This sentiment isn’t just talk either — it’s something evidenced on social media, where there is often an endless list of rolling credits for those involved in production. Dalgleish’s show and lighting design is just one tiny fragment of that.
Swedish House Mafia & The Weekend, Coachella 2022.
As for the nuts and bolts of his career, every day for Dalgleish is different. Some days are filled with client meetings like the rest of us (only his clients are often massive international artists). Other days he’s co-ordinating lighting experiences for 125,000 people, shooting perfectly-timed fireworks into the sky as a final euphoric moment or organising strobe lights to heighten a final number. And although his vision for lighting design is a fluid experience for both the artist and audience, for a brief moment in our conversation, he lifts the veil on his highly creative mind delivering insight into the intricacies of lighting design that uplifts and transforms.
Akin to any other art form, the lighting design for a musician must be reflective of their particular vision and style. It needs to enhance their on-stage efforts and deliver some all-important wow-factor that offers fans a memorable, moving experience. It’s far more important than perhaps people give it credit for, and requires a meticulous eye and particular mind to be done at Dalgleish’s level. For instance, his recent work with Billie Eilish plays on geometric lines and vast spaces — a design that worked to enhance Eilish’s powerful vocals by giving them space to shine. His work is refined and purposeful, and thanks to his team’s encouragement, he isn’t afraid to try something new.
Billie Eilish, Coachella 2022.
When seeking inspiration, his resources are vast and varied. “Everywhere in the world apart from concerts, and then also concerts,” he laughs. “It feels like outside of concerts is where I often find my best inspiration, like architecture and art… But I also have no ability to enjoy shows anymore — I’m always looking at them through a creative, technical lens.”
While Dalgleish is normally tasked with creating the lighting design for an artist, Valentine runs the animation side of Human Person, leading a team that creates larger-than-life visuals that play on some of the most enormous LED screens in the world. This critical piece of the show is woven together with the lighting and stage design — working in a harmonious dance that gives each element space to shine independently of one another. This kind of holistic show design is critical to the overall direction of Human Person shows, and the animated visuals illuminating behind the artist play a unique role in the balance of the performance. Working with animators across a wide variety of backgrounds across the planet, the visuals are often created on wildly fast turnarounds where client expectations can sometimes extend far beyond realistic timelines. Their team is proud of this fast-paced design, a core part of their process on almost every show.
Ben Dalgleish, Ian Valentine, and the Human Person team onsite for SZA Wireless Festival, July 2022.
Earlier this year, Human Person was tasked with one of their biggest projects to date — two headline shows for Coachella. From the geometric, moody inspired atmosphere for Billie Eilish to the almost apocalyptic reality created for Swedish House Mafia & The Weeknd, when it eventually came together, it felt like every moment of the performance made sense. And while the process of designing these immense shows is fascinating and creative and on a massive scale, Dalgleish and Valentine confess that their favourite part of the show is often when it is over. Sure, it’s a load off their shoulders, but there is also a moment of intense elation (likely triggered by adrenaline), where they can see their work come to life, hit every mark like it was meant to, and they can celebrate the efforts of everyone involved. There’s something about this that naturally speaks to the human experience.
Yet despite his impressive resume, Dalgleish wouldn’t characterise his career as a success story — yet. Instead, Human Person is a small fish in a massive pond, where in the scheme of the industry, he is but another artist still making a name for himself. “I think what sets us apart is how hard we are willing to work as well as an attitude of we can do this to the highest level,” he tells me. “I think that comes from both our backgrounds, starting in the trenches doing really hard shows, and also our backgrounds — me being from New Zealand with that number-eight-wire mentality, and Ian being from the midwest where the attitude is the same.”
Back-to-back headline acts at Coachella aside, Dalgleish describes the most surreal moment in his career as coming full circle last year, when he produced the show & lighting design for Crowded House’s New Zealand tour — a band that he (like most of us), grew up listening to in his family home. For Valentine, the pinch-me moment also occurred in New Zealand, where he found himself in the thick of the pandemic, working on local shows with impressive lineups, unlike anywhere else in the world. This summer, the duo and their team of collaborators plan to find more inspiration back on our shores with a summer festival lineup that promises incredible, immersive and a moment of elation for them when the show is finally over.
While in New Zealand, Ben Dalgleish and Ian Valentine will speak at creativity and design festival Semi Permanent Aotearoa, held from the 19th until the 21st of October in Wellington.
In what could be considered a modern interpretation of the classic hacienda-style home, this new build in Los Angeles (on a Pacific Coast-facing canyon between Pacific Palisades and Santa Monica) offers a variety of light-filled spaces for a family with two kids. Designed by renowned architecture firm Walker Workshop (also the general contractor on the project), the Rustic Canyon House is constructed in a pinwheel formation, seeing four separate rectilinear wings spread off from a central living space, with beautifully-landscaped patios and gardens dotted in-between.
Given its location, nestled in a wooded landscape of Coastal Live Oaks and California Sycamore trees, it’s hardly surprising that this home was designed to bring nature in. Drawn into the residence’s central living space thanks to generous swathes of glass which invite plenty of natural light, the beautiful greenery from outside feels as important a design element as the home’s carefully-considered furnishings. From the windows that wall a terrarium garden behind the fireplace to the skylight in the master bedroom that frames the branches of an oak tree, little moments of nature deliver depth to the residence’s simple spaces, while one particularly big moment — the awe-inspiring window feature in the kitchen — gives meal prep a wild twist. Rising 15-feet from the benchtop, the kitchen’s framed window ‘cathedral’ offers a lush view out to a grove of Melaleuca trees and exemplifies the commitment of the architects to celebrating the unique, natural beauty to which this house is privy.
Here, there is an overarching sense of calm that weaves through every room, thanks to both the unique layout and to the materials used. Fanning out from the central living space, one wing carries the master suite, and another has the children’s bedrooms. The third wing houses a guest area or extra lounge while the fourth is a garage. Here, there is plenty of opportunity for a family to enjoy moments together or indulge in some time apart — both equally necessary. There is even a separate walled courtyard, designed as a place for the kids to play in peace, and of course, a beautiful swimming pool that fits seamlessly into its surroundings (looking almost as though it had always been there).
Architecturally, the walls of these wings reduce in height and depth as they extend from the main area, lending an intriguing dimension and sense of space. And thanks to materials like timber and stucco masonry, there is a sophisticated subtlety to the bones of the home that works perfectly with the playful interior details employed by designer Lisa Petrazzolo.
Working with warm tones, interesting shapes and textural details, Petrazzolo proved the power of a pared-back approach. Strong, solid materials like handmade stone, brass accents, honey-toned oak floors, light oak cabinetry, and a Petersen brick feature wall created the perfect canvas on which the designer layered eye-catching design moments — an Apparatus Studio light fixture here, a sculptural outdoor chair there. That said, there is nothing fussy or fragile or superfluous here. All the interior elements are purposeful and feel suited to their surrounds.
Times bed by Spalvieri & Del Ciotto for Poltrona Frau from Studio Italia.
Ultimately, the Rustic Canyon House is an idyllic setting for a family. A place in which light-filled shared areas are combined with separated spaces for adults and kids alike, the home’s easy sophistication and contemporary design is both an ode to its environment and a clever reimagining of the classic family abode.
In a bid to transform any outfit into a bona fide ‘look,’ it is to our accessories that we turn, seeking adornment that will take our sartorial standing to a whole new level. Here, we round up some exquisite rose- and yellow-gold pieces promising to give us a gilded glow. From eye-popping pendants and necklaces set with diamonds to simple earrings and everyday bracelets (that always look better stacked), these gilt pieces will give your accessory game a beautiful boost.
Gone are the days when drinks were merely an afterthought on a menu; a simple coffee offering and perhaps a can of fizzy drink. Nowadays, entire menus are designed around beverages, and as such, one new specialty drinks bar has captured the attention of those in the know.
186 Specialty Drinks Bar is the brainchild of brothers Charles and Patrick Williams, of Auckland’s Williams Eatery notoriety. Devised in collaboration with Les Mills to extend the Victoria Street gym’s wellbeing offering, 186 is a sleek operation that retains nourishment as its core ethos. As the name suggests, specialty drinks comprise the menu, and the team have taken the arduous task of making smoothies inspired and intriguing, giving us something to talk about.
Left: 186 Smoothies. Right: Space designed by Rufus Knight.
On the menu alongside freshly brewed Flight Coffee, Patrick has put together a refined, mindful offering of smoothies, sodas and tonics, with an option to add locally-made protein, mushroom and matcha powders. There are even rumours of a bone broth smoothie, should you be courageous enough to try this concoction. With a grab-and-go fridge stacked with the likes of Ārepa and other performance-boosting tonics, it is more of a holistic offering than the gym juice bars of the past. And 186’s totally convenient inner-city location means it is not restricted to Les Mills members either; anyone is welcome to a refreshing smoothie come lunchtime.
Rufus Knight’s design is the essence of minimalism, setting an exciting precedent for what’s to come in Les Mills’ iconic Victoria Street foyer. Part of a bigger plan, you can soon expect the entire Les Mills foyer space to offer high ceilings, heritage windows teaming with daylight, and hotel lobby-inspired seating for a myriad of purposes. Charlestells me it will provide a suitable space for dining, meetings, and gym consultations, all under one roof.
Left: Matakana Supergreens, Mango, Kale, Passionfruit and Oat smoothie.
With Williams Eatery a testament to the owners’ culinary successes, we’re sure that 186 is a place people will adore, and we’ve heard whisperings that a refined specialty food offering will be made available in the new year to continue the Williams food legacy. One that is designed as much for those seeking a post-workout pick-me-up as it is for anyone craving something wholesome to eat. In the interim, whenever we’re craving a summery smoothie, you’ll know where to find us.
Opening hours: Monday — Friday, 6.30am until 2pm. Saturday — Sunday, 7.30am until 2pm.
From its proud position on a leafy street in Melbourne’s Moonee Ponds, the Jennings House stands as a beacon of exceptional design. Thanks to its eye-catching facade of long format, handmade Danish bricks, you don’t even need to go beyond the front gate to understand that this is a home with design at its heart — a testament to the parties involved in bringing it to life.
Rico lounge chairs by Ferm Living from Slow Store.
Conceived via the collaborative effort of Agushi and Webster Architecture and Interiors (the former was appointed as design manager for the project, and was in charge of engaging all relevant consultants to help realise the brief), and with interior spaces finished by Simone Haag, this residence had a strong team driving its creation. Architecturally, the Jennings House is undeniably unique. Inspired by Western European, minimalist, modern architecture, the home’s intriguing Danish brick facade sets the tone for the living spaces it hides, where robust, almost Brutalist proportions are realised in a two-storey structure. Here, the ground floor is entirely glass and the first floor is a cantilevered mass, clad in handmade bricks. This not only works to maximise the views from the rear of the home, but it offers something of an architectural marvel where the upper level appears as though floating, supported by the translucent glass below.
Gogan sofa by Patricia Urquiola for Moroso from Matisse.
Gogan sofa by Patricia Urquiola for Moroso from Matisse.
Materials like brick, glass, concrete and black steel have been expertly deployed to lend this residence an unapologetic presence, and yet, thanks to clever landscaping and considered interior design, the overall effect is inviting, luxurious and totally suited to the client’s brief of a functional and flexible home.
Kashmir stools by Simon James for Resident from Simon James, Venus chairs by Konstantin Grcic for ClassiCon from Matisse.
Comprising five bedrooms and (crucially) three separate living areas, Agushi and Webster wanted to create spaces that would work for a family with three children. The more formal living room, complete with a cosy fireplace, sits at the front of the house, and is the perfect zone to which the adults can retreat after a long day. Of course, it stands in stark contrast to the kid-friendly living area tucked down by the basement. The shared living space by the kitchen is where everyone can relax together, in which sumptuous, curved sofas are as suited to parents needing to put their feet up as they are to little ones running around (note the distinct lack of sharp edges or hazardous corners).
Kashmir stools by Simon James for Resident from Simon James, Venus chairs by Konstantin Grcic for ClassiCon from Matisse.
This idea of playing with proportions and balancing the straight, stoic architecture with soft interior shapes is part of the reason why this home works so well. From the spectacular curved staircase that anchors the double-height entranceway to Simone Haag’s choice of rounded furnishings (like Resident’s Kashmir Chairs along the breakfast bar and ClassiCon’s Venus Chairs around the dining table — among many others) the spaces within the Jennings House feel as comfortable and user-friendly as the exterior feels elevated and sculptural.
There is a lot to be said for the way lighting enhances this effect, too. Of course, the prolific use of glass has resulted in every space bathed in natural light (which picks up and deepens the details of materials like natural stone, featured in a number of the rooms and bathrooms) but there has also, it seems, been particular focus on artistic feature lighting (in floor laps and pendants) that adds creative and conversation-starting flair.
What really makes this home feel like a refined retreat, however, is the seamless indoor-outdoor flow. Designed by Nathan Burke, the gardens offer lush greenery that complements the distinctly manmade materials used in the home itself. And with large windows directed to give almost every interior space a view out to the courtyard and sparkling pool, there is a beautiful juxtaposition between the natural and the constructed that see both co-exist harmoniously.
Serpentine chairs by Eléonore Nalet from Ligne Roset, UF pot by Atelier Vierkant from ECC.
While it might seem like everything now has its own ‘international day’ of celebration (seriously, there’s even a World Ice-Cream-for-Breakfast day), when it comes to Champagne, we rarely need an excuse to pop a bottle of the best (but it sure does help). So, on Friday, October the 28th — the date of this year’s official World Champagne Day — we will be raising a glass to the effervescent drink that has long been imbibed to mark all of our most important milestones and celebrations, and heading to one of our favourite Auckland spots to do so.
Hosting a convivial celebration at which its impressive wine list will rightfully take centre stage, Faraday’s Bar in Parnell is the only place you will want to find yourself next Friday. Kicking off at 12pm and running until 10pm, this intimate, exquisitely-appointed spot (nestled in the corner of luxury department store, Faradays) will be pouring flutes of exceptional Champagne, and offering complimentary chocolate pairings with every glass of Dom Pérignon Vintage 2012, Veuve Clicquot La Grande Dame 2008 and Ruinart Rosé served. Moreover, those in attendance from 5pm to 8pm will be treated to the smooth stylings of live jazz, curating the perfect Friday night vibe.
Given that the Champagne and chocolate pairings will only be available while stocks last, and we anticipate this to be a very popular occasion, we recommend securing your spot for World Champagne Day at Faraday’s Bar now, by booking a table here, or by calling on (09) 217 1017. Trust us, you don’t want to miss out.
Since opening in Birkenhead earlier this year, it’s been rare to find a moment in time where Duo Eatery isn’t packed — in the best kind of way. It is perhaps a testament to owner Jordan Macdonald’s unassailablecareer in Auckland’s hospitality scene. A formative force in creating the likes of Culprit and Lowbrow, earlier this year he joined forces with his wife Sarah,(of Masterchef fame among many other talents)to create what would fast become one of the most popular eateries in Birkenhead, capturing the hearts (and the stomachs) of the neighbourhood in a big way. It’s been so popular, in fact, that the kitchen recently expanded the offering from brunch and lunch to a dinner service too, and we’ve got all the details.
When we initially met with the Macdonalds earlier this year, they assured us delicious brunch wouldn’t always be the main offering at Duo. Now, the eatery has procured a liquor licence and an impressive wine list, transforming into an intimate, elevated bistro once the sun goes down. Having amassed an extremely loyal following, partly thanks to their considered use of high-quality produce and artisanal products, and partly for their sophisticated fit-out of what used to be a butchery, dinner feels like the final missing piece for this neighbourhood mainstay.
Evenings at Duo are a decidedly slower affair than during the day. The menu boasts a curated selection of snacks to share alongside smaller and larger plates that can either be kept for one or shared around the table. The lamb ribs, for instance, which come with a Sicilian olive gremolata and smothered in apple glaze, are best when shared between friends. But we wouldn’t blame you if you were to keep the oyster mushroom gnocchi with cavolo nero and celeriacall to yourself. And, of course, any dinner here isn’t complete without a serving of stracciatella, fried Jerusalem artichoke and salsa verde for the table. Local, artisanal produce features heavily on the menu, including bresaola from Cazador, whipped curd from Clevedon Buffalo and tomatoes from Curious Croppers, and the chef will often use seasonality as the starting point for his culinary vision.
Bone marrow, sourdough, parsley, shallot, caper.
To match all this delicious food, Duo’s wine list is a master stroke. It is Jordan’s pride and joy, filled with bottles to which the chef himself has attached some kind of personal meaning. Comprising a curation of surprising wines from New Zealand, Australia and France, alongside an impressive line-up of natural varietals, the drinks offering is rounded off with a few zesty cocktails, including a passionfruit margarita and a housemade, yuzu-infused vodka fizz.
With Duo Eatery’s nighttime sessions firmly underway, it always becomes a question of what’s coming next? We have it on good authority that a summer cocktail hour is a possibility on the horizon, but until that happens, we will be watching this space with interest.
Dinner service: Wednesday — Friday, 5pm until 9pm.
This season, eye-catching sequinned pieces are delivering an alluring dose of glamour to our after-dark attire. From luminous shirts that stand out on their own to mini-dresses best paired with a tailored blazer and sky-high heels for a subtle hint of brilliance, these garments will have you incorporating sequins into every outfit you can this season.
From left: Isabel Marant Peonia top from Workshop. Metallic shirt from Burberry.
From left: Rhinestone mini-dress from Prada. Embellished dress from Chanel.
Nowadays, a table is more than just a functional piece of furniture, acting as a centrepiece for those who love to host. A number of new tables are being rendered in a variety of exquisite materials — two to take note of are the ever-trustworthy timber and sleek marble. The latter is moving out of the kitchen and into the dining room, its undulating veins and tonal varieties bringing depth and intrigue to a typically simple, utilitarian space. Destined to be the darling of any dinner party, read on to discover the structures we have our eyes on — whether you prefer a minimalist, grand, or industrial feel for your space.
Marble table by Patricia Urquiola for Molteni&C. from Dawson & Co.
Sengu Table by Patricia Urquiola for Cassina from Matisse
Linha dining table by Marcio Kogan / Studio MK27 Design for Minotti from ECC
Mondrian dining table by Jean Marie Massaud for Poliform from Studio Italia
Intervalle dining table by Guillaume Delvigne for Ligne Roset
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