I’ve always wanted to stay in a yurt and the opportunity to realise my dream arose in Kaikoura. I stumbled upon Wacky Stays when searching for accommodation and, though tempted by the other five unique offerings on the property, I snapped up the yurt. It was obvious on arrival at the farm that this was going to be a memorable stay.
Our friendly host, Kevin, greeted us and showed us to our comfy nook and adjacent private bathroom.
The seven-metre Mongolian yurt was spacious and comfortable and could easily house a family.
The bathroom and fully-equipped outdoor kitchen had all we could need.
Each afternoon, guests are invited to join in the hand-feeding of the farm animals. Of course, we couldn’t resist that.
Unfortunately, we didn’t have the time to experience a llama trek but it would have been amazing to enjoy a walk with these majestic creatures.
The pigs were very entertaining
while the ducks and sheep had a little more decorum.
After finishing off the greens, some filled up on hay,
others preferred a snooze.
I’m pleased we had our own bathroom.
Our nearest neighbour was a 1940’s Bedford K series truck that has been converted to a Gypsy Caravan. There is a double bed above the driver’s cab, kitchen, lounge (with flat-screen TV) and onboard bathroom facilities.
On the far side of the truck, the restored Train Carriage, crafted from hardwood in 1889, has two bedrooms and everything needed for a self-catering holiday.
In a more secluded spot, the Colonial Wagon is perfect for a romantic getaway, with a super-king bed, cosy lounge area and outdoor kitchen.
A sleepout with two bunk beds provides combined accommodation for up to four guests.
Panoramic views of Mount Fyffe can be enjoyed from the outdoor bath.
There is also a lovingly restored Farmers Cottage and seven-metre wide Teepee on the property, perhaps we will investigate next time. Kaikoura is well known for its delectable fish’n’chips and we indulged, take-away style, with a bottle of Marlborough Pinot Gris to commiserate our wonderful holiday coming to an end.
The next day, early morning rays of Sol highlighted our peaceful surroundings
as our toast went up in flames due to an unforeseen gas leak. A fitting end to the aforementioned memorable stay.
We were looking forward to exploring Marlborough wine country on our way to Blenheim but, sadly, early morning is not the time for winery visits. We indulged instead in a leisurely coffee and cake stop somewhere amidst the eye popping countryside. Another hour down the road, we came across The Store at Kēkerengū, perfect timing for lunch.
First established in 1994 as a tearooms and garage, The Store was transformed twenty years ago into the restaurant, café and gift shop it is today. There are options for indoor and outdoor dining
and a stroll around the grounds revealed a thriving kitchen garden.
Despite the overcast skies, we opted for a seat in the fresh air at the top of the stairs,
with a front row view of the Pacific Ocean and resident seals preening on the sand.
Beachfront campsites are available with mountain views and secluded bays from which to enjoy East Coast sunrises.
Tempting though it was to partake in a stroll along the beach
or a short post-prandial nap,
it was time to continue the journey to our next destination, Kaikōura.
Following our sensory stimulation at the World of WearableArt Museum, we next ventured into the adjacent Nelson Classic Car Museum. I’m not really what you would call a ‘car enthusiast’, as long as it transports me from A to B in comfort I am happy. I do, however, appreciate the form and am of the opinion that when it comes to cars, and fashion for that matter, style and class are a thing of the past. The fabulous collection of vehicles began in 1967 and all have been fully restored and are presented in immaculate condition. Our attention was instantly drawn to ‘The Flamboyant Fifties’ section to our right
but we chose to traverse the museum in the other direction after spying an intriguing red Mini. It seems two blokes decided, over a beer, an attempt to break the land speed record in a 1964 Mini was a great idea. Guy Griffith and Garry Orton assembled a team, known as Project 64. Long story short, they did indeed set a new land speed record of 166mph (267kph) on Bonneville Salt Flats, Utah in 2016.
I suspect a more sedate history is attached to the cute little BMW Isetta parked in the next bay. The entire front end of the Italian-designed microcar opens out as a single door, along with the steering wheel and instrument panel. Driver and passenger were to exit through the canvas sunroof in the event of an accident. The right-hand drive version, produced under licence in England from 1957, meant the driver and engine were on the same side, so a 27kg counterweight was added to the left-hand side to compensate. Popularity waned until a three-wheeled version was introduced and it was therefore classed as a three-wheeled motorcycle, requiring only a motorcycle licence. Unfortunately, the three wheels made it more prone to rolling over.
Adding a touch of nostalgic ambience, some displays are accompanied by an innovative façade. A 1962 Holden station wagon has been packed for a beachside holiday
and a 1922 Hupmobile is parked suspiciously outside Luigi’s Barbershop.
The next section was aptly named ‘Visual Delights’.
A dazzling line-up of 1960s sports cars opened with a Sunbeam Stiletto. Despite lacking the pizzazz of the classic convertibles, the Stiletto was considered a rival to the Mini Cooper in its day. Only around 9,000 of these cars were manufactured between 1967 and 1972.
A trio of tantalizing Triumphs
terminate in a time warp, back to the 1930s. Auburn automobiles, produced in America from 1900 to 1937, were renowned for being fast, good-looking and expensive. Business declined following the Great Depression and the Auburn 653 was developed in 1934 to offer more affordable models. Re-styled in 1935, it still wasn’t enough to save the company and all vehicle business came to a halt in 1937.
BMW were more successful during the same era with the 328 sports car. Produced from 1936 to 1940, the BMW 328 won its first race at the Nürburgring in 1936 and went on to achieve more than 100 class wins the following year. Incidentally, Frank Pratt won the 1948 Australian Grand Prix driving a 328.
New innovations in the ‘sporty’ Cadillacs of 1929 included a synchronized 3-speed transmission, eliminating the need to double-clutch when changing gear, and four-wheel brakes requiring considerably less pedal pressure.
Looking a lot more ‘sporty’, the 1934 Fiat Balilla Spider, originally with the 3-speed ‘no-syncromesh’ gearbox, benefitted from an upgrade to a 4-speed transmission.
A recently restored 1900s Ford waited to find its place within the exhibition buildings.
On a completely different scale, the 1959 Cadillac Coupe de Ville boasts the world’s largest tail fins on a production automobile. At the time, Cadillac’s design philosophy was heavily influenced by jet aircraft and the tail light arrangement represents the exhausts of a jet.
Back to the more ‘classic’ form
the Humber Super Snipe was produced by British-based Humber Limited from 1938 to 1967, the Mark III commenced in 1950.
U.K. luxury car, the Austin Sheerline, was designed during WW II but production was delayed until 1947. The style was similar to the Rolls Royce or Bentley of the time but the Austin was around two-thirds of the price.
The Ford Motor Company introduced its De Luxe line in 1938 to bridge the gap between its base and luxury models. 1939 saw the first year of hydraulic brakes at Ford.
At the beginning of 1950, Britain was the leading exporter of cars, dominated by Morris and followed closely by Austin. These two companies merged to become the British Motor Company (BMC) in 1952. I have vivid memories of the drives home from primary school in Mum’s blue Morris Minor, affectionately known as Gertrude. If she didn’t have a clear run at top speed to tackle a particularly steep hill en route, we would slow to a halt before reaching the top, despite our verbal encouragement from the back seat. Encouragement turned to screams as mum juggled gear stick and clutch, my fear of careening rearward only allayed by the perfection of yet another hill start.
The Reliant Motor Company was founded in 1935 and are mostly remembered for their range of 3-wheeled vehicles. The Supervan III was introduced in 1956 and was the first to have a full fibreglass body. As I mentioned previously, 3-wheeled cars were popular as they didn’t require a car licence to drive. However, the EU changed this rule for vehicles over 550kg in 2001, severely affecting Reliant’s market share and they ended car production a year later.
Winding the clock back to the World War I period, the Stutz Bearcat was named America’s racing champion in 1915. Although it was fast for the era, it was considered a ‘man’s car’ because the clutch was so stiff and the brakes required much force to operate. Supposedly, this prevented women from driving.
Porsche built only 90 of its first purpose-built racing cars, the 550 RS Spyder, between 1953 and 1956 and was the first car manufacturer to get race sponsorship. Apart from a successful race history, it is probably most famous for being the model James Dean was driving when he was killed. Avid Porsche collector, Jerry Seinfeld, sold his 1955 550 RS Spyder for $5,335,000 at auction in March 2016, a world record price for the model.
The Porsche 356 preceded the 550, with production starting in 1948. Although intended to be a road vehicle, the engineers couldn’t help themselves with a few tweaks to make it raceworthy.
The Jaguar XJS was unveiled in 1975 as a replacement for the iconic E-Type and, despite some initial market reticence with the new, angular lines, it went on to be one of British Leyland’s more successful ventures. A convertible model called the XJ-SC was introduced in 1983, the small rear seats were removed to make space for the removable soft top.
Surely one of the most beautiful cars of all time is the E-Type Jaguar (in my humble opinion). Produced between 1961 and 1974, it was surprisingly tasteful, unlike many fashions of that era. I would prefer a British racing green rather than Austin Powers’ psychedelic ‘Shaguar”.
Frazer Nash sports cars were first manufactured in 1922, with the BMW 328 design used as the basis for the later models. All cars were built to order, meaning small numbers but many different models. Only 12 of the Frazer Nash Mille Miglia were made between 1948 and 1953.
GT Beetles were the only classic Beetle produced in Europe to be officially badged a ‘Beetle’. Built to celebrate the importation of Britain’s 300,000th Beetle, only 2500 were made in three unique colours – lemon yellow (1250), apple green (250) and tomato red (1000).
The Mini came about because of a fuel shortage caused by the 1956 Suez Crisis when petrol was rationed and sales of large cars slumped. The Mini was marketed under the Austin and Morris names until 1969 when the simple name ‘Mini’ replaced the separate brands. Rover Minis were the last of the original shape, built from 1996 until the end of production, after 41 years, in 2000.
We finally made it back to our starting point, at ‘The Flamboyant Fifties’.
The scale of these extravagant American vehicles was boggling. I’ve always loved the old Morris Woody Wagons but Chrysler outdid themselves with the Town and Country Newport Coupe. Only 698 of these last true woodies were produced for one year only in 1950.
Built to celebrate Cadillac’s Golden Anniversary, a limited edition convertible version of the El Dorado concept car was released in 1953. More a method of testing the market, production was restricted to 532 vehicles.
Presumably beyond repair, a 1953 Buick has been laid to rest in a mock graveyard.
We had planned a day discovering the many wineries of the Nelson region but, having spent longer than anticipated at the World of WearbleArt and Classic Car Museum (that’s another story), our day was considerably shortened. Heading north along the coast, we detoured for a closer look at Ruby Bay. The name was inspired by the small ‘rubies’ of red chert (also known as flint or jasper) found in the gravel of the Moutere region, though the colour wasn’t really obvious.
Further north, at Motueka, we enjoyed a fabulous lunch at TOAD Hall Brewery & Café. I think I was too hungry by then to take photos but I do recall the scrumptious cider. Driving inland through picturesque countryside, we discovered Moutere Hills Vineyard. Grapes were first planted on the lower home block of the 12 hectare property in 1993, with further plantings on the north facing hill block in 1998. The vines benefit from the unique microclimate of the Sunrise Valley where it is often 2°C or more warmer than the Nelson city area.
The original winery and cellar door was destroyed by fire in 2006 and a new café and winery was built. The unassuming entrance to the cellar door is almost hidden within landscaped native gardens.
The interior is welcoming and offers a comfortable space to sit and sample at leisure. The wines are sold exclusively at the cellar door or online through their website.
Beyond the tasting room, the café received a complete upgrade in 2018 and Forsters Moutere Hills restaurant now offers superb dishes prepared by award winning chef (and owner), Alistair Forster.
The views from the restaurant, over vineyards and beyond, are spectacular.
Following the fire in 2006, the old hops barn was partially restored and in 2013 it was reborn as the Fox n Grapes bar, a popular watering hole for locals on a Friday night.
Continuing our circuit of the World of WearableArt Museum, we entered the Transform Section. Designers were challenged to create a work that changes in form, nature and appearance. I only captured two of the five pieces, they don’t translate too well to static visuals. Meg Latham (NZ) was inspired by the paper dress-up dolls she played with as a child. Using polyethylene, canvas and acrylic paint for her version of Dress Up Dolls, the models change costumes as if turning pages of a book.
Tara Morelos, Ahmad Mollahassani and Nelia Justo (Australia) have employed electronics, along with acrylic, cardboard and fabric for their homage to Japanese artist Yayoi Kusama. They describe Infini-D as, ‘a meditation on geometry, dimensionality and cinematic post-modern gothic’.
The Aotearoa Section draws on the deep sense of place New Zealanders have and celebrates who they are as people and what makes them proud. Ocean beauty comes to life with Sacha Mail’s (NZ) Fatal Attraction. 30,421 hand-dyed cable ties and foam remind us to protect it before it turns to plastic pollution.
Dylan Mulder (NZ) combined 100% merino wool and 3D-printed jewellery to merge Artificial Intelligence and Māori design. He claims the garment, Natural Progression, intuitively designed itself.
Te Kotuku Rerenga Tahi is a Māori whakatauki or proverb, which means ‘a white heron’s flight is seen but once’ and is indicates a very special and rare event. Jenny Sutton (NZ) used paper, plastic milk bottles and weed matting to depict the lovely spirit-like bird.
The Crux and the Long WhiteCloud marries the Southern Cross in the heavens with the anthem of New Zealand. Autumn Minnear (NZ) chose gold, wood, wool and harakeke (flax) to complement the oil on linen images.
Stephanie Cossens (NZ) has honoured the New Zealand lesser short-tailed bat, Pekapeka-Tou-Poto, using ceramics, faux fur, Dacron and aluminium.
Fabric, plastic and elastic have amalgamated to form Erica Gray’s (Australia) Echinoderm, a monochromatic representation of the colourful sea creatures.
The title says it all, Our History? It’s Complicated… Lynne Dunphy (NZ) worked with woollen blankets, calico, silk and brass to share the message that there is more to Aotearoa than blankets and guns.
Lisa Vanin’s (NZ) depiction of Kaitiaki, a Māori term for a guardian or protector of the environment, is an understated combination of bamboo and copper.
An interesting conglomeration of tulle, rattan, shells and modelling clay make up the intricacies of Shelley Scott’s (NZ) JAFA (Just Another Fabulous Aucklander).
The colour white (yes, I know, there is some controversy as to whether it is actually a colour) is often associated with peace, light, love and purity. In some parts of the world it can represent death and mourning. The White Section incorporates the entire spectrum of emotions in spectacular fashion.
Renee Louie (NZ) has shaped PVC pipe, fabric and nylon string to create Symbiosis, her message that, ‘Alone they are great but they are even better together.’
Intricately woven aluminium wire and white wire make up Dreamcatcher, a fairy of the night by Tsao Chien-Yi and Lu Pei-Hsin (Taiwan).
‘The incarnation of an ethereal soul, protected by many different, textured layers’, describes Integumentum. Marine Arnoul (France) used 3D-mesh, spandex, foam and 3D-printed glasses to achieve the image.
A sterile white armour attempts to fight disease, but it is flawed. Hanna Smith (Australia) shaped Faulty Armour from Tyvek, cork and surgical masks.
This gorgeous garment by Galina Mihaleva (Singapore) is fabricated from polyester, plastic and sequins. Losing Touch? represents the uncertainties facing nature.
On a similar theme, Erica Gray (Australia) has used plastic and fabric for Face Coral, reflecting the underwater species stripped of vibrancy and colour.
Although many of the pieces on display are stretching the concept of ‘wearable’, I feel this would be particularly challenging. Ruth Arkless (NZ) has used cotton, tulle, mesh and sequins to create Cultural Peak, expressing the strength of the country’s heritage, casting large shadows and reaching new heights.
Taking ‘wearable’ to the extreme, the Bizarre Bra Section showcases some outrageous examples that have been entered in the competition over the years.
Paying homage to a typical Kiwi breakfast, Fried Eggs made from rubber adorn toast formed with painted sponges. Kelsey Roderick and Rhys Richards (NZ) cleverly added straps constructed from cutlery.
The oldest recorded ‘National Flower’, the Scottish thistle, inspired Lyndal Linton’s (NZ) EdinBra.
A less sedate, carnivorous tropical plant motivated Leon Vaz and Noel Braganza (India) for their colourful Venus Fly Trap.
Alexa Cach, Miodrag Guberinic and Corey Gomes (USA) combined hand-painted Cicadas, brass leaves, Italian leather, faceted crystals, epoxy and wire for their golden Renewal entry.
Stainless steel was the material of choice for the arachnoid creation, Miss Muffet, by Bikramjit Bhowmick and Sangeeta Patra (India).
Mark Crocker (NZ) found a use for teapots, bicycle parts, egg cups, kitchen utensils, leather belts, fabric and rivets for his painfully titled Grinder Bra.
Equally uncomfortable is Jantar Mantar by Khadimul Islam (India). I would think those parts made of iron, plastic and reflective sheets would pinch a bit.
Sebastian Denize (NZ) created Re-Decked entirely from recycled skateboards.
I’m not convinced that Tanya Marriott’s A Pair of Spitfires would really take off.
Denise Laurie (NZ) had to learn taxidermy to present Lunar Duo. A tribute to the possum, the unfortunate pair of road kill have been joined together with rubber from a car tyre.