September 2024

Fashion is a funny thing—current, retro, high-end, street, boho, athleisure. It’s all ultimately subjective.

One thing is for certain: we all have that one piece of something special that evokes memories of times gone by, with many stories woven into it, and wish we could buy it again to make sure it never wears out.

Stepping into Hills Hats, you can’t help but feel this is where that exact kind of magic is made.

Founded in 1875 (yes, you read that right), Hills is approaching 150 years old. That’s an age worth pondering.

Not to get too heavy, but in that time, the world has seen the fall of the Berlin Wall, the Chernobyl disaster, two world wars, the space race, and—let’s not forget—the creation of the home computer.

In modern marketing, words like “heritage” and “authenticity” get thrown around a lot. But in truth, they’re rare to come by. Hills Hats, however, is the living embodiment of those words.

As you walk through the doors, you’re greeted by the smells, sights, and sounds of raw materials and fabrics—a vibrancy more akin to an exotic fabric market than to the streets of Petone.

A warmth envelops you as familiar yet unknown faces welcome you, eager to share stories and lessons from the world of hats.

The factory, aptly named “The Hatmosphere,” is warm and inviting while also being a pleasant assault on the senses. Trust us, you’ve never seen this many hats. The space invites curiosity and wonder, and every corridor or corner seems to lead to another equally stimulating and creative environment, filled with artifacts most have never seen.

The machinery and equipment alone are something to behold. Steam rises from pipes used for shaping hats, metal hat molds, felt brushes, and countless other hat-making tools are spread across the floors. Sewing machines hum as hands work diligently, producing a clear volume of craft. Natural smiles abound, but there’s also an unmistakable sense of pride and hard work in the air.

At the heart of the space is a sitting room, inviting customers to relax while others try on an array of hats. Comfortable, luxurious leather sofas form a cozy storytelling nook, a space that, we’re told, has also hosted many musicians over the years.

Hills Hats is celebrated for its traditional methods and high standards of craftsmanship. Every hat is handmade with meticulous attention to detail using premium materials. Sustainability is also a priority, with environmentally friendly materials and processes used wherever possible.

Their offerings are vast, from timeless styles like Panama hats and fedoras to more contemporary designs and bespoke creations. They also cater to more corporate niches, producing hats for uniforms, promotions, and events. With a strong reputation in New Zealand—and indeed, around the world—you’ve probably seen their work on the big screen.

Hats may often be overlooked, but they hold a unique significance. Sitting atop the head like a crown, they’re the perfect finishing touch. Over time, they mold to your shape and age with you.

At Phantom Billstickers, we live by the motto “flora for the concrete jungle,” ensuring vibrancy and character on the streets of New Zealand. Similarly, Hills Hats provides the crowning jewel for any outfit, on any occasion.

In a world where fashion trends come and go, Hills Hats stands as a timeless institution, blending heritage with craftsmanship and innovation. Whether you’re looking for a hat that tells a story, serves as a symbol of craftsmanship, or simply adds the finishing touch to your style, Hills has something for everyone. Every visit is not just a purchase—it’s an experience that connects the past with the present, proving that quality, authenticity, and a bit of magic never go out of style.

To take a journey to the Hatmosphere, jump here.

Prima Facie tells the story of Tessa (Mel Dodge), a top defence lawyer who specialises in tearing holes in the claims of alleged victims of sexual assault. To her, law is a sport, and like all top athletes, she lives for the next game.The opponent is irrelevant, only beating them. Tessa is a captivating character; highly intelligent and a little cocky but self aware enough to be funny about it.

The inescapable intimacy of a one-person play is the perfect canvas for Prima Facie.

As Tessa monologues to the audience, she confides in us, she banters with us, she makes us laugh and draws us in. Somehow we are on Tessa’s side, vicariously enjoying the ride of her success. When she explains the correct method of interrogating a victim on the witness stand until they’re tangled in a web they can’t get out of, we can’t help but admire the craft. We really shouldn’t like her but we do.

One night, Tessa is brutally assaulted by someone close to her and everything she had taken for granted in life suddenly lies in tatters. The status afforded to her by a prestigious job, her position in society as a winner and her core sense of self are all suddenly feel deeply compromised. In the court case which follows, all the weapons of rhetoric, language and implication which Tessa deployed so skilfully for a living are turned in on her. Now she is the one trying to scramble her way out of a web the lawyer for the accused is spinning around her. 

The bond established between the protagonist and the audience in the first half of the story serves to heighten the emotional impact of the harrowing turn of events. A “He Said, She Said” case is the most brutal dissection of character imaginable. For a jury of their peers, two people will compete to be viewed as the sole honest and respectable member of society. 

Prima Facie examines the ingrained unconscious prejudices that form our collective perceptions, projections and biases. It also illuminates how the legal system and the power structures which govern society are built to defend the status quo from those who would disrupt it.

The plot and themes of Prima Facie are undeniably heavy but the play never risks overwhelming the audience with an excess of misery. On the contrary, it provokes a lot of thought about urgent societal issues while entertaining and engaging from beginning to end with a very tight control of pace and tone. 

There’s a polish to the whole production born of experience, this being the 2^nd season of the play after an initial New Zealand run last year. The minimal set, lighting and score serve the story well without ever distracting. The long standing ovation at the conclusion was richly deserved.

*Little whinge on the side: When you go to the theatre, go to the toilet before hand and turn your fucking phone off. Jesus.