2008: I took my seat on Princes Wharf as glittering city lights reflected on the harbour, and thought, how lucky am I? A mystery man (later revealed to be Ali Williams) 'fished' wharf-side in a yellow rain jacket while models strutted the length of the dock for Huffer.

2015: I sat on the stage of the iconic, crumbling St James Theatre and thought, how lucky am I? Stolen Girlfriends Club had taken over the soon-to-be-condemned space, with select VIPs seated across the length of the venue's stage itself, part of the show for other guests watching from the stalls.

2023: I perched atop the tidal steps of Karanga Plaza at golden hour and thought, how lucky am I? Models in Zambesi's latest collection posed against a live skyline backdrop of cranes, planes, boats and skyscrapers.

Each of these moments is etched into my memory not just as fashion shows, but as unique and intimate tours of Tāmaki Makaurau. New Zealand Fashion Week's off-site shows have opened doors to spaces I'd never otherwise enter, and helped me see familiar or forgotten corners of the city through fresh, unjaded eyes.

There is something electric – the chaos, tension, unpredictability – about an off-site show, for those attending and those organising behind-the-scenes. From carparks (so many carparks) to abandoned warehouses, early-morning presentations to late-night mess, these shows have celebrated Auckland's inner core - and sometimes the outer suburbs - in all its grit and glamour. 

They also offer a living history of a changing city landscape: many of these NZFW shows unfolded in pre-developed areas, unintentionally charting the revitalisation of areas like Britomart, City Works Depot and Wynyard Quarter.

The NZFW official venues also map a timeline of our city: the grand Auckland Town Hall, the harbour-side marquees on the old Team NZ and Alinghi bases, the shiny (read: corporate) Viaduct Events Centre, and this year, the soaring Shed 10.

Intrigued by how these unexpected locations have shaped the city and runway experiences, and reflecting ahead of the return of NZFW after a brief hiatus and many stops and starts before that, I asked a few fashion friends to share their favourite off-site NZFW show memories. I was not prepared for the flood of stories that followed…

Please note: there are some glaring omissions here, so this is really a part oral history of NZFW locations. Some iconic shows that are worth mentioning, even if I wasn't lucky enough to be there: World at Te Ara Lodge and the Northern Club, Zambesi at the Northern Steamship in Britomart, IPG at Victoria Park Market, Huffer at the then named Vector Arena, Trelise Cooper at the St James, produced by Mike Mizrahi (I was there for that one, and it felt like a total fever dream).

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St Kevin’s Arcade, Doris de Pont and DNA Clothing, 2003

Appreciated by Doris de Pont, founder of the NZ Fashion Museum, and former designer of her namesake brand, absolute icon

Off-site was on-site for me in 2003. Let’s Gather Here was the title of the collection and an invitation for the NZFW audience to come and join us at our home on Karangahape Road, the ridge above the city of Tāmaki Makaurau that traverses it from east to west. A place of entry for me, my family, and many of the other immigrants that have added their voices and cultures to make this the richly diverse city we have become.  

Programmed to be staged in St Kevin’s Arcade, Let’s Gather Here took its name from an artwork by Niuean artist, John Pule, who provided the imagery for the textiles. The collection name was intended to be a karanga, calling us to celebrate us.    

The NZFW delegates and our other guests had to climb the 30 stairs of the colourful grand staircase entrance to the Arcade, the space resonant with the sounds of Cook Island drummers from performance group, Anuanua. Hospitality is an essential part of the culture of this part of town, and guests were offered a pre-show drink, organic wine from Millton Vineyards and sushi from our neighbours on the street, St Pierre’s (remember, this was 22 years ago). 

The view of the lights of the Sky Tower and the city, framed by the large window of St Kevin's Arcade, gave Let’s Gather Here an unmistakable sense of place. Our guests were invited to take their seats alongside a runway of flax matting. A fire dancer kicked off the show to gasps of excitement and, as reported later by some guests, quite a lot of anxiety. A soundtrack, mixed for the show by Many Hands, brought the models out. To the sounds of highland bagpipes, Rarotongan log drums, changu and kwaengari, tabla, rehu, flute, electric and acoustic guitars, saxophone and djembe the models presented the Winter 2004 collection. 

Rendered in colours drawn from tapa – brown, ochre, blue and black with highlights of carmine red, the collection was styled with printed perspex crowns, tattoo armbands and dramatic pearl shell jewellery by artist Sofia Tekela-Smith. The garments themselves were titled for our neighbours on Karangahape Road: the Caluzzi Shift dress, Alleluja anorak, Galatos jeans, and the closing look, the Ballroom dress, named for the street’s popular pool hall. John Pule, who trusted me with his work but had not seen what it had become prior to this show, joined me on the runway for the finale.

Karangahape Road is not just my home but a wondrous place that brings people together, where all people can gather and share, making us richer.

Mercury Theatre, Stolen Girlfriends Club, 2010

Appreciated by Rosie Herdman, PR specialist, writer and retired model 

It was 2010 and must have been my first-ever fashion week. I was booked to walk for Stolen Girlfriends Club, whose shows were always highly anticipated, unexpected and off the beaten track. Stolen was showing at Mercury Theatre that year; I hadn't been living in Auckland for very long so probably wasn't aware of the theatre's cultural cachet, but it definitely felt like a special energy was brewing as everyone crowded in the backstage area for hair and makeup. The collection was called Last Night's Party – the girls had messy hair with plastic cigarette butts and fresh flowers through it and the boys had fake bruises around their eyes.

Once everyone was dressed and ready, I remember we all had to line up in the dark on these cramped stairs to the stage and wait until all the attendees were seated. We waited, and waited... and waited. It filtered down that everyone out the front was having far too much fun drinking before the show to come in, so we did shots backstage, the girls clambering around in those huge platform lace-up boots. Funnily enough, it's being with everyone backstage that I can picture when I think of the show, and a feeling of drawn-out anticipation. I completely blanked when I was walking on the actual stage.

Cross Street carpark, Ruby, 2015

Appreciated by Annalise Sharma Lawson, Ruby sales and marketing director

Organising and being swept up in the intensity of Fashion Week shows was a favourite pastime of mine, and the one I spearheaded at Wilson Carpark on Cross Street in 2015 will remain etched in my mind. With the help of my brother, who was working for Wilson at the time, we masterminded a plan to host the show on the 8th floor, shining a whole new light on what was possible in a grungy-chic downtown carpark, generally known for coming alive when the sun went down.

Working alongside show producer extraordinaire Sarah Jane Hough, anything was possible. With the generator on the ground floor and tech teams ferrying gear up in the lifts due to the carpark’s low stud height not being van / truck friendly, it’s safe to say the pack in had a few hurdles.

Over 400 friends of RUBY, customers and press were in attendance and able to shop the collection first at a pop-up store built in the middle of the runway (I remember the generator lights cutting out for our keen shoppers!) and the show finale finished by Chris Parker, Tom Sainsbury and the rest of their Dynamotion dance crew. A decade on, this massive production will never be forgotten!

Devonport Naval Base, Gubb & Mackie, 2001

Appreciated by Carolyn Enting, journalist and fashion writer who has attended every NZFW since it started

So many incredible show locations stand out for me over the years, but I’m choosing Gubb & Mackie, who officially opened the inaugural L’Oreal NZFW in 2001 with an offsite show aboard a navy frigate.

We were ferried across the harbour to Devonport Naval Base in choppy seas and had to negotiate steep and narrow gangplanks in heels to board the HMNZS Wellington. For the final ascent I remember taking off my heels and opting to go barefoot. My colleague from The Evening Post’s ‘Flair’, Nicole Curin-Birch, kept hers on as she was wearing pantyhose – but she showed it could be done. Once aboard, we sipped gin and tonic on the flight deck and the show received a standing ovation. The atmosphere was charged and afterwards those in the know headed to Kate Sylvester’s packed out unofficial offsite soiree at Sheinkin Café on Lorne St where models, dressed in Kate Sylvester, drew stick figures on a blackboard.

Pier 21, Drystack Boat Park, Zambesi, 2006

Appreciated by Dan Ahwa, stylist, writer, Ensemble contributing editor, creative advisor for NZFW

Now named the unfortunate Cracker Bay Marina and Drystack, this quintessential Auckland waterfront location was the follow-up act to the iconic St James Theatre location of Zambesi's 2005 show. This one opened with Sophie Findlay's expertly selected Jaws theme song, and featured a glittering front row guest list including JD Fortune of INXS and Melissa George. Everyone was hammered. Greg Murrell had models walking down in choppy, menacing wigs, Amber D applied the now-infamous M.A.C Morange lipstick to models which was, in itself, a real sign of the times. But inside that cavernous location, you couldn't help but be swept up by the show's thrilling sense of danger. I also remember this was the show where, as a young stylist working for Pulp magazine, I was seated next to the editors of Karen magazine (yes there was a magazine called Karen lol). Karen editor Marian Simms looked at me like a piece of poo, which made me feel like a piece of poo. It was one of those moments where I vowed to never be that way toward anyone new coming up in the industry.

Pier 21, Drystack Boat Park, Zambesi, 2006

Appreciated by Tatum Savage, PR specialist

I was young, just out of university, and invited to attend Zambesi’s show – my favourite brand then, and one that I have now had the privilege of working with over the past five years; helping the Findlays produce their 2023 show. Funny how life works out sometimes. You can imagine my excitement to be attending a show where guests would arrive in outfits that were beyond cool – elegantly moody, perfectly proportioned layering and clever tailoring. The venue matched the vibe: a boat drystack on Auckland's marina at night has an austere feeling about it.  I remember walking in, seawater residue on the bare concrete floor, a Nokia phone frozen in time inside an ice sculpture, famous faces at every turn, Dirk Bikkemberg chain boots by the dozen. 

The long and sleek drystacks provided a perfect natural runway. The last guest was seated and boom, it went from dim lighting to pitch black. The lights rigged above us flickered like something out of The Blair Witch Project, and our attention was turned to the end of the runway where a giant machine lifted out of the water as the Jaws soundtrack began. With water dripping from what turned out to be the boat lift, the music changed as models stomped the catwalk wearing the most incredible custom wigs, M.A.C Morange lipstick and another incredible collection from Zambesi. I was absolutely blown away by the creative direction: the soundtrack, the attitude of the models, hair and makeup, the silks and softer silhouettes set against this harsh and almost frightening backdrop.

Silo Park, Lela Jacobs, 2017

Appreciated by Jess Molina, writer and content creator

I remember this show so vividly. I had just moved to Auckland, and this was my first full NZFW as an Aucklander where I could actually go to more events. I was contributing to a website (which sadly no longer exists) and I felt like a *real* fashion person. I was sitting inside one of the silos and really taking in the interior. It was sculptural and so beautiful and surreal to be inside it. I was seated amongst the best dressed audience I've seen that week, people of all colours, ages and sizes, just parading around in the most stylish threads I've seen. Then the models were unleashed and my jaw dropped. The collection seemed so timeless; if I saw photos of the show again now, most of the pieces would still feel extremely current. It was so visceral. I'm pretty sure there was some live drumming?! I was wearing an extremely oversized Nyne coat, Maaike draped pants, a lace bustier and a beanie. I didn't really know anyone then and I was dazzled by the artistry and glamour of it all! I sadly don't have photos... I think I live snapchatted the whole thing and tried to make it like a FRow diary?! It was 2017, that's just what we did back then…

Mason Bros. Building, Carlson, 2017

Appreciated by Sarah Stuart, stylist

I’ve been going to NZFW since 2006, and seen some unforgettable shows. One of the earliest was Jaeha Kim’s solo debut at St  Matthew’s Church in 2008. I went to university with Jaeha, and watching him transform that sacred space with raw confidence and originality was unforgettable.

Another show that has stayed with me was Tanya Carlson’s 2017 runway at the Mason Bros. building: intimate, iconic and unrepeatable. The building itself added its own story. Originally built in the 1920s as a Mason Brothers Engineering warehouse, it was redesigned in 2016 by Warren & Mahoney.

The show marked Tanya’s return to NZFW after 10 years away and 20 years of Carlson as a brand, so the atmosphere was electric. I had the privilege of styling the show, and was brought in early to help curate: Tanya had this incredible archive of vintage fabrics and rare pieces she’d gathered over two decades, and we spent weeks reviewing, editing and weaving that into a coherent narrative. The process was super personal, like being trusted with someone’s creative legacy.

Backstage was organised chaos in the most exciting way, with models, dressers, Tanya’s team and I moving fast. For the finale, the incredible Hollie Smith’s voice filled the space live. It was like the room held its breath for the drama of the finale model in full-length, black duchess silk satin. Tanya emerged to a spontaneous standing ovation from the audience filled with media, industry and Carlson fans – it was well earned.

Auckland Central Library, Zambesi, 2019

Appreciated by Katie Melody Rogers, makeup artist and costume designer

I loved the combination of the building’s architecture – lots of yellow and mustard and weird patterned carpet – mixed with the collection. The runway was brightly lit with the backdrop of the bookshelves; an awesome contrast of fashion and literature which worked so well. My favourite look was an incredible oversized suit on model JFK: the grey and lavender together with the crazy colours of the location.

Auckland Town Hall, Workshop and Helen Cherry, 2011

Appreciated by Emma Gleason, writer, founder of Crust, host of Thursday Morning Glory on bFM

How do you make a fashion week show memorable? Rarity. Their first show since 2005, they made a splash at the historic venue, and haven’t been on the schedule since. It was a joint event for Helen and Chris Cherry’s brands (the couple weren’t NZFW regulars, though Workshop’s shows had brought an edge to the event’s earlier years). 

2011 was off-site and at night – code for loosening your collar – during a particularly busy fashion week, with several prominent brands “returning”, and media run ragged covering it all. I imagine many people had slipped in a cocktail before heading up Queen Street. I had been a block down at Tanuki’s prior to the show (gossiping with friends) and by the time I got to the Town Hall the energy was electric.

The place was packed, a well-dressed scrum of showgoers making their way to their seats amidst the grandeur of the historic venue. There was even organ music! It all felt very prestigious, posh even. Especially for a brand like Workshop, which made its name on cool streetwear (albeit high quality and with beautiful denim) that captured the unique identity of our South Pacific city. Helen Cherry’s namesake label was a different flavour, also encapsulating an era, catering to well-heeled, upwardly mobile sophisticated Auckland women – the kind who can tie a silk scarf properly but will also order a whisky, neat.

This time they were presenting together, marrying two distinct aesthetics – architect boyfriend, lawyer girlfriend – in one big show. There were 40 models, cast by Rachael Churchward. Lauren Gunn was on hair, while makeup (a smokey winged eye, so 2011) was MAC – the beauty brand of the era – led by Fatima Thomas. Rather than utilise the famous stage or install an elevated runway, models walked across the elegant wooden floor, winding their way through media seated on (I think?) bench seats. On the soundtrack was a remix of Kate Bush’s Running Up That Hill.

What they wore was hot. Tailored, retro rock’n’roll, with dark denim, 1950s-inflected womenswear and lots of leather, styled by Jamie Huckbody (who’d worked at Russh and Harpers Bazaar Australia). There were lots of pencil skirts – also very 2011, and a Helen Cherry signature. Workshop enlisted artist Max Gimblett to paint some pieces (a shirt from the show is held in the Auckland Museum archives) while the Workshop Wunderkammer Jewellery collaboration was launched.

So Auckland, so 2011, so cool. I left wanting the snug leather jacket and skinny leather pants, and still think of that exit when I wear a similar outfit (vintage) today.

St James Theatre, Zambesi, 2006

Appreciated by Marissa Findlay, photographer and show producer

I was creative director, in a backstage/producer role, and it was one of my favourite shows. The power of the live band, Pluto, charged the models with that sexy, cool rock-and-roll energy, as did the blue and red lighting, heavy black eye makeup, nonchalant bed hair and history of the venue (I photographed Jeff Buckley when he played there). The perfect recipe for a memorable show. The makeup team and production crew were all frantic but with purpose – the beautiful backstage chaos that always creates magic!

Pre-developed City Works Depot, Kate Sylvester, 2009

Appreciated by Amanda Linnell, writer, journalist, PR, former editor of Viva and one of my career mentors

There’s always a sense of anticipation at an off-site show, the experience starts before you get there. Finding your way to a part of town you’ve probably never been, dark allies, disused warehouses… And when you arrive it is a heady mix of grunge and glamour as the fashion world kicks into party mode.

Kate Sylvester’s Diamond Dogs in 2009 captured it all. The then disused City Works Depot was the perfect place for a cranking loud soundtrack of Bowie, The Stranglers and Black Lips; models striding out in oversized jackets nipped in at the waist with large leather belts, lace trimmed lingerie juxtaposed with schoolboy grey shirts, peach georgette dresses with khaki suiting. Inspired by the black lipstick-wearing Auckland 80s icon, Judith Baragwanath, this was a collection and, indeed, a show that felt edgy and encouraged rebellion, late into the night.

Pre-developed City Works Depot, NOM*d, 2010

Appreciated by Sally-Ann Mullin, marketing director for MILK Books and former editor of FQ

NOM*d’s Danse Macabre show still lingers. It was part fashion, part theatre, part live art installation. The space was transformed into a kind of post-apocalyptic dinner party, complete with burnt-out cars, flickering candlelit tables and an incredible bedspread made entirely of vintage bras, created, I think, by Karen and Avirl (where is that now? Someone must know).

Models drifted through the scene like zombies, while Rebecca Davies sang live and actors moved through ghostly, half-formed vignettes. It was more of a world than a show. Coming from a background in film and costume, I’ve always been drawn to the more performative side of fashion, and this was it at full tit: poetic, punk, perfectly Dunedin. Cinematic and just the right amount of strange.

I remember it being quite divisive – people either loved it or didn’t know what to make of it. But I’ve always thought it’s better to be loved or hated than to be boring. Fashion should make you feel something. This hit the spot.

Pre-developed City Works Depot, NOM*d, 2010

Appreciated by Karen Inderbitzen-Waller, stylist and photographer

This was the culmination of several years working with NOM*d, where creativity ran free and we searched for meaning in the genre of runway shows, hoping to create something different by way of a live performance. The year before we made a film called Turncoats, which screened at SkyCity Theatre with models walking the aisles. After that we pondered, what next?

We assembled a creative team: famed costume designer and friend of the brand Kirsty Cameron came on as director, Richard Shaw composed the score, and I worked as stylist and props artist. Our stage was the cavernous, then-undeveloped City Works Depot, before it became home to &Sushi, Zoe & Morgan and others.

Within this space we created a play, Danse Macabre: a set with multiple stages and narratives unfolding simultaneously, inspired in part by Lars von Trier’s Dogville. 

I’m not sure any space available now could house such a performance: a decadent dinner party where couples kissed, smoked, danced and fought, girls reading French poetry on a Victorian bed with linen I’d constructed from vintage lingerie, redheads in Quaker hats creating a world among burnt-out trees, a leather-clad girl singing on a crashed car, while the faceless composer – the late Dean McFarlane, his face clad in safety pins – scored the scene live. 

At one point, NZFW threatened to shut us down because of the cigarettes. The audience was equally stunned, watching as the dominatrix performers led the performance, whips in hand, hair across their faces, the macabre party in full swing.

Western Springs Speedway, Stolen Girlfriends Club, 2014

Appreciated by Kiekie Stanners, makeup artist

Stolen Girlfriends Club has always held special NZFW shows in unique locations, but the speedway presentation always pops up as one of my favourites. A very excited makeup team arrived at the offsite evening location, took in the scale of the speedway track runway and found our beauty set-up in the men’s locker rooms. 

NZFW has never been known for its particularly pleasant weather and it was utterly freezing on this evening. Watching the run-through, I realised the models would be walking for about 12 minutes and got nervous about how long that super-glossy red lip was going to hold up. The makeup team went hard, fixing blue-ish legs from the cold and streaming noses, right up until they walked. Then doing damage-control when the models’ returned with red glossy lips that had slowly started to travel onto chins after their 12-minute loop. 

We had such fun at these shows, where there was an electric excitement working at pace behind the scenes. We took a team photo post-show – the guys had found these fabulous inspirational-quote artworks on the locker room walls and thought they’d make perfect props for our team camaraderie. Sometimes the grungiest backstage environments produced the best synergy amongst a team!

York Street Studio, Karen Walker, 2003

Appreciated by Anna Reeve, former model and TV host, content creator, co-owner of Pals

This was the show where Karen Walker launched her jewellery line. I was a model in it and it was the most unique catwalk experience I’ve had. Instead of the typical show like everyone was expecting, we walked out onto a rotating stage in the middle of the  cavernous studio, climbed up boxes and posed, as a man dressed in a gorilla suit turned the crank to make the stage turn. I remember it rubbed the fashion press the wrong way at the time but is such an iconic moment. Not to mention the prints in the clothing are some of my all time fave KW prints. Karen has always been ahead of the curve. Love that I got to be part of one of those defining moments.

Avondale Racecourse, Stolen Girlfriends Club, 2019

Appreciated by Imogen O’Neill, head of PR for Public Library

While I have multiple stand outs (shout out NOM*d at the Aotea Centre when I was interning for Process PR, my first intro to NOM*d) the number one has to be Stolen Girlfriends Club at Avondale Racecourse for NZFW 2019. It was memorable for many reasons; the size and scale being the main mind-blower. 

It was my first year managing front of house on a Stolen show, which were always renowned for their size, scope and the wonderful chaos of getting in and finding your seat. But nothing really prepares you for the first time you’re managing a guest list with upwards of 3000+ invitees and fielding all their individual requests and changes, while also co-ordinating media access pre and post-show. Throw in guest management planning for an outdoors show in winter, with an MO to incorporate burning barrels down the 70m catwalk and a finale of spontaneous rain happened to land on my front row. (cue ponchos and umbrellas being offered in advance). 

At ‘doors open’, seeing the onslaught of arrival, which looked like a sea of people clad in some form of black and a lot of leather surging towards the team was intimidating to say the least. Talk about trial by fire! But it went well, the show was super slick and come time for the after party I was breathing  a DEEP sigh of relief. It was to be a show for the ages (shout out creative genius Marc Moore and our brilliant producer Sarah Jane Hough), and one that I still get comments on from people that attended. It was a standout show for me personally and professionally, and one I will never forget.

DHL Warehouse in Morningside, Stolen Girlfriends Club, 2008

Appreciated by Lucy Slight, fashion and beauty writer

The year was 2008 and I was 23, working as the editorial assistant at Girlfriend magazine. From memory, I had an NZFW delegate’s lanyard – but no actual invite to the Stolen Girlfriends Club show at the DHL Warehouse in Morningside. I’m fairly sure it was raining, and, as I’d come to expect from SGC shows in the years that followed, it was running fashionably (wildly) late.

I was nervous AF. In a move that was very out of character for me, I planned to just flash my NZFW lanyard and hope for the best. It’s all a bit hazy now, but I somehow got in, wedged myself into the GA area, and watched the show shoulder-to-shoulder with a heaving crowd of people who were all way, way cooler than me. I’m also fairly certain I got home using a Pacific Magazines-issue taxi chit. RIP the taxi chit.

Sofrana Building, Britomart, Kate Sylvester, 2006

Appreciated by Rebecca Wadey, Ensemble co-founder

It was 2006 and I was working for Kate Sylvester on her fashion week show. Kate and Wayne produced amazing shows, as anyone lucky enough to ever attend one can attest, and in this particular year, the Wolf collection, we were doing an off-site show in a rundown building in pre-developed Britomart. It was across the road from Showgirls, and we sent Wayne off to charm them into lending us velvet ropes for crowd control outside – they kindly obliged. 

I love off-site shows for their ability to reimagine a space and immerse us fully into the world of the brand. We did another great off-site show the following year in another pre-developed warehouse in Grey Lynn (the Art Groupie collection), but there was something really exciting about being in the CBD with hordes of people going about their daily commute while the fashion community queued along the bus shelter behind the strip club’s velvet ropes.

Quay Project in Britomart, Benjamin Alexander, 2019 

Appreciated by Greta Kenyon, editor and founder of Together Journal

Choosing one standout was no easy task. My mind immediately went to a hauntingly atmospheric group show staged inside the Silos at Wynyard Quarter, sometime between 2015 and 2017. At night, that concrete cathedral becomes something otherworldly. But alas, it was late in the day and I must have had one too many Fashion Week champagnes, because the memory is a little too hazy to recall clearly, and the internet has not delivered what I need.

The moment that reliably lingers most vividly is Benjamin Alexander’s first solo show after winning Project Runway NZ. It was held at the Quay Project, a soaring industrial loft above Amano on Quay Street. Stepping inside felt like being transported somewhere entirely different – with its patina-covered walls, lofty ceilings and thick timber posts, the space had a distinctly European sensibility.

What made the moment so special was the energy in the room. Benjamin was visibly elated. Wide-eyed, grateful and glowing with the excitement of his big break. His joy was contagious, and it was a privilege to share in that sense of well-deserved success.

The collection featured 15 looks. There was a calm confidence to the palette and silhouettes, all elevated by the natural light pouring into the heritage space. One of the great advantages of a daytime show in a venue like that is the ability to see every detail: the weave of the fabric, the shimmer of a metallic thread.

Fashion Week, for me, is about connection. Connection to a space, a collection, a designer. And just as importantly, it is about connecting and time spent with media peers and fashion friends, free from the pressures of deadlines and the demands of a shoot. I remember for this particular show being seated next to my friend Sammy Salsa, a stylist of extraordinary talent and another absolute gem of a human. We were both completely taken by the show and the space. And because it was a young designer’s debut, it carried that extra sense of magic and momentum. We may have whispered a little too much throughout the show, but I promise it was all praise.

Cassette Nine, Stolen Girlfriends Club after-party, 2012

Appreciated by Courtney Joe, stylist

This wasn't a show, as such – being a NZFW volunteer was a strictly behind-the-scenes only role – however I did find myself at the Stolen Girlfriends Club show afterparty at Cassette Nine, back in 2012. I was a second-year uni student, and a dresser for the week, and someone leaked the top secret after-party location backstage. We were absolutely not invited, so a bunch of us volunteers made a plan to casually be at (in) the venue ahead of the after party. It was my first brush with Auckland night-life, and at the time I felt so cool walking up those stairs on Vulcan Lane and into the neon-lit venue, festooned with bunting and paper lanterns. I ordered a cocktail in a teapot and watched the well-dressed crowd roll in, and joined the mosh as Randa [now Mainard] played. This photo was taken on the dancefloor moments after we met Mark Hunter a.k.a The Cobra Snake who was major at the time. I want to say he took this photo, but I can't be sure – either it was him or Snapstar (lol). Someone corroborate this!