Group Show #2 at Wellington Fashion Week

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I ended up heading to Thunderbird with Steven and Sarah from Apparel Magazine for a very late lunch after the afternoon MARCO Boutique show cause, well, curly fries. Lets face it – hungry writers make mean writers, maybe that’s the real reason why they serve canapés and drinks at these things? I digress.

I was looking forward to the group show on Friday evening – I’d never even heard of nineteen//46, I still hadn’t seen the highnoontea winter collection despite the fact that it’s been on the racks for a while now and Goodness always have an interesting range of clothing at every show.

I’ve just posted a few photos from each label, so click on any of the images to see the rest of the respective collections.


First up was Maison Scotch. I gotta say – the label has always looked familiar, I hadn’t realised it’s the womenswear sub-brand of Scotch & Soda (and yet I’m the one who’s meant to know about this stuff).


The combination of prints works well together, the length of the jacket contrasts nicely with the cropped tucked in shirt, and the  interesting black and white print gives the otherwise neutral outfit a crisp modern look.

As you might have expected from Scotch & Soda, we saw a quintessentially European brand which combines really nice materials with a penchant for the smallest of details – everything from the metals fastenings matching the tones of the fabric to the contrast buttons matching the cuffs on a cardigan.


The collection was comprised of an eclectic collection of silk shirts, oversized merino beanies, jerseys and cardigans with contrast trims or metallic detailing, very well-fitted pants with bold autumnal prints, as well as a vintage take on contemporary streetwear pieces (the college bomber jacket with vintage-looking applique? Fuck – beats me).


Their take on streetwear confused me to say the least, but I really appreciated some of the more structured, sober pieces, as well as the uncanny ability of European designers to find perfect tones for every crazy colour they use.




Well, it was very Robyn Mathieson. The torch, the leather gloves and the tunnel with the light at the end of it suggests that the collection draws on the aesthetics of the hardy garments and protective gear worn by miners (whilst stripping away any reference to the practical need for this stuff). You could also say that the light at the end of the tunnel is the spring season after winter, and that the bright colours are the guiding light to get you through the dreary season and through to “the end of the tunnel”. I dunno. I’m probably reading into this far too much. I may also be a bit tipsy.

While the brand might not be to my taste, I really like Robyn Mathieson’s prints (more so than the colour blocking that the label is better known for), and I appreciate how versatile her dresses are in terms of how they flatter any body type, This collection was no exception.


I think her prints are sophisticated, and I’m particularly fond of this dress above. As well as the more structured coat with the digital print below.


The oversized fur hats and the leather bibs (well, I think it’s a reverse cape made of leather off-cuts but whatever)? Yeah I don’t get it either.




NoaNoa is a Danish brand that has been branching out into the New Zealand market as of late, and anecdotally it seems to be pretty well received. This show reiterated how important good tailoring is for me. Perhaps it was in part due to the styling but each of the outfits had the perfect mix of structured, flowing, fitted, and loose pieces. Combined with beautiful autumnal tones contrasted with cool navies and the occasional super classy European print, you have one slick collection.


The collection drew aesthetic cues from dressage – the combination of the hats with the jodhpur-like pants, the leather gloves and the ankle boots is kind of a giveaway isn’t it? Incidentally it gave the overall collection a  vintage feeling sans the fusty op-shop vibes.


God damn, they’re killing it with the prints – perhaps it’s the European thing? And the umbrellas? I hope they’re part of the collection cause they are just amazing. Snap that shit up before it sells out (and it will).





So Nineteen//46 (that name is a such a pain to type out – *starts copying and pasting*) is a boutique label produced by Silverdale Knitwear – a New Zealand company that uses high quality New Zealand merino and angora wool to produce fine knitwear.

Flicking through the website, the Silverdale range looks like something that would be stocked in Ballantynes that your grandfather would wear – I would hazard a guess and say that there was a recognition that there is a market for more innovative fine knitwear that caters to a younger audience in terms of its design. Ergo: Nineteen//46.


Incidentally the name makes reference to the year the family which founded the business moved the factory to Levin and established a name for itself as a manufacturer of quality knitwear.

The collection showcased a series of fine (what I assume was) merino knitwear, which drew aesthetic cues from streetwear in terms of the draping, the various oversize pieces and the bold alternating chevron pattern present on many of the pieces in the collection.


I appreciated how the pieces really brought out the nature of knitwear as a textile and showed off how it drapes – it felt like this aspect was incorporated into the design more than you typically see with knitwear.


I don’t think they were part of the collection but I really liked the oversize steampunky accessories, but I’m that dorky kid who likes machines and mechanisms so that’s not much of a surprise. I felt like the accessories almost drew too much attention away from the knitwear but that’s not to say I didn’t like the pieces themselves.

I know it’s a autumn/winter collection but it would have been cool to see bright colour accents/trims (perhaps in lieu of the accessories) incorporated into the knitwear itself – I thought the knitted orange glasses were a nice touch.

As for the collection’s name “Get Knitted”? It’s a bit meta isn’t it?




My brother attended the highnoontea industry viewing for their SS14/15 collection “Brave New World” before flying back to Auckland, so it was up to me to attend this group showcase and see the current AW14 collection “Me, You and Everyone We Know.”

I liked the pieces enough, but I didn’t really get a good sense of what the collection was about during the show. Looking up the collection on their website, Sheryl writes that the collection is based on the idea of women bring their own sense of style to the table, and seeing what results from the mixing and matching of their respective tastes – this makes a whole lot more sense now looking back.


We saw an eclectic mix of pieces that I wouldn’t necessarily think were part of the same collection – that said there were some beautiful pieces in amongst it. It really shows that Sheryl is a very experienced pattern-maker and let’s face it – it’s all about the tailoring/cut.

This black one-piece (I think?) is just stunning – it’s beautifully fitted, and the tonal contrast between the bottom and the top just works so damn well.

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First model to hit the runway for Goodness: Amanda Bransgrove from Monarch Models.

I’ve always known Goodness as a boutique which stocks a really interesting range of New Zealand designers, so I was expecting a “boutique show”, where the boutique basically showcases a selection of their current stock. What I didn’t realise until afterwards talking to Chris Hales (the mastermind behind the boutique), was that she started designing her own clothing under the label “Goodness”, so the pieces were all her own!


I asked Chris what made her decide to create her own label, and she simply replied that she was merely designing the clothes that personally wanted to wear that she wasn’t able to find. First model to hit the runway was her good friend and model Amanda Bransgrove (who runs the modelling agency Monarch Models). This seems particularly fitting, as Amanda is such a good representative for the label – she works in a creative but corporate environment and the clothing was exactly that.


As well as the chic blazers combined with softer blouses, the collection also had more relaxed and casual pieces, which could be equally dressed up or down depending on how it was worn.


You might not be able to get away with the short skirts in your typical office environment, but why not try ditching the tired belted cocktail dress look at your next work function and try on some of these outfits?

– Chris.

Author: Chris Park

One half of the Park Brothers. Purveyor of banter, curator of misc. Manage comms for @BuoyandMine. Read More

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