As director of data and analysis at Recorded Music NZ (RMNZ), he questioned whether he was just part of a niche interest group: “Are we the only ones experiencing this?”

But then music journalist Charlotte Ryan and The Spinoff founder Duncan Greive approached him for their podcast, The Long Play.

Released October 8, the podcast looks at the warped history of vinyl in Aotearoa, starting in Ōtautahi Christchurch in 1879, right through to its surging popularity in the present day. “The Long Play confirmed a lot of anecdotes,” says Kennedy, who spoke as a guest on the podcast.

What became clear is that vinyl is back, for good. For Ryan, she was surprised to find how emotional people’s connection to vinyl still is. “Every conversation I had – whether it was a teenager buying their first record or a lifelong collector, had stories with all of their records. One woman cried when she spoke to me about her listening vinyl experience and the memories it evoked.” 

As well as being available on streaming services, The Long Play has also been pressed to vinyl itself, in a limited edition run. This moment is the one that has stuck with Greive.

“For something I’ve spent most of my life loving and playing, I never stopped to think about how it was made. See tubes of plastic squashed into discs, the care and precision and satisfyingly industrial nature of the process – it was such a treat. And wild to think what they were pressing was… our story of the medium itself.”

Diving into the data

The Long Play acted as a catalyst for RMNZ to do some “proper detective work” and discover what have been the biggest vinyl sellers in recent years.

Kennedy, together with colleague, data specialist Michael Cathro, combed back through years of raw data – from 2003 to 2025 – to build the first ever Top 40 chart for vinyl.

Until then, it had never had its own chart: “I didn’t know we were going to need one – I thought they were all over,” says Kennedy, who has been with RMNZ since the early 2000s.

Music sales submissions is usually tallied by “units sold”, so in some cases it remained unclear whether a retailer meant CD or vinyl.

But a barcode or an “LP” in brackets was often enough to detect the vinyl and wrangle the data into shape.

Kennedy says they examined just over 30 million physical sales in Aotearoa and found just over 29 million were CDs and just over one million was vinyl.

Of that million, more than half of all vinyl sales occured in the last four and a half years.

Topping the charts

The resulting Top 40 Vinyl Artists and Top 40 Vinyl Album charts build a picture of what exactly people are spinning on their turntables in Aotearoa.

Kennedy says the charts tend to favour artists with new music on vinyl or those who have reissued music on vinyl.

With that in mind, it may come as no surprise that the one topping both Top 40 Vinyl charts is Taylor Swift and her 2024 album, The Tortured Poets Department.

Taylor Swift’s dominance on the industry is marked: “even if we only count her casette tape sales, she’d still be in the charts,” says Kennedy.

She is joined in the Vinyl Artist top 10 by Pink Floyd, David Bowie, Queen, The Beatles, Harry Styles, Metallica, Ed Sheeran, Rolling Stones and Neil Young.

Following Tortured Poets Department in the vinyl album chart is:

• 2) Pink Floyd’s Dark Side of the Moon
• 3) Swift’s Midnights
• 4) Queen’s Greatest Hits
• 5) Swift’s 1989
• 6) Split Enz’s True Colours
• 7) Ed Sheeran’s Divide
• 8) Harry Styles’ Harry House
• 9) Queen’s Greatest Hits II
• 10) Styles’ Fine Line

In the Top 20 Aotearoa Vinyl Artists chart, L.A.B, Lorde, Split Enz, Fat Freddy’s Drop and Marlon Williams make up the top five. Split Enz’s True Colours is ranked the Top Vinyl Album.

Charts tell a story

Ryan says the charts tell an interesting story, with global superstars like Swift sitting alongside heritage acts like Fleetwood Mac.

“I love that so much NZ Music featured too. This says a lot about how vinyl has become a bridge between generations. Younger fans are collecting older records, older fans are embracing new music –  genres seem obsolete by many – it’s all about the great music.” 

Greive adds he loved seeing how the vinyl charts are disconnected from streaming charts – popularity on vinyl is not the same as popularity more broadly.

“You see the ageing bogans and the teenage girls both shining. But also, given its 22 year span, you also see how sharp the spike has been recently – albums released only weeks ago (hi, Virgin!) making the charts. Most of all, you see that people buy records they love – most of what made the charts are certified classics, regardless of when they were released.”

RMNZ’s weekly Singles and Albums charts are compiled using data from a range of physical and digital retailers, streaming sales and gig sales.

In October 10’s Official Top 40 Albums Chart: first place is of course Swift’s newly released The Life of a Showgirl, but second place is taken out by the KPOP Demon Hunters Soundtrack.

Third, fourth and fifth place go to The Art of Loving by Olivia Dean, Man’s Best Friend By Sabrina Carpenter and +-=÷x (Tour Collection) by Ed Sheeran, respectively.

In the Top 20 Aotearoa Albums the top five includes Six60 – The Six60 Collection, Tami Neilson – Neon Cowgirl, Lorde – Virgin, Joe Kaptein – Pool Sharks and Kaylee Bell – Cowboy Up.

One tricky aspect with the vinyl chart is that some classic albums weren’t issued in vinyl; likewise, some well-known and successful artists have never put anything out on vinyl, says Kennedy.

To have and to hold

In general, data shows a considerable amount of vinyl buyers don’t even have a record player – in the US, it’s between 30 to 40%.

It’s all about having media you can hold as well as the aesthetic pleasure of being able to display it, says Kennedy. He notes a trend called “shelfies”, pictures designed to show off various objects, like books, records and photographs on bookshelves.

“[Vinyl] is not the most convenient or cheapest, but it’s about the artwork, engaging with it… It’s also partly about the demonstration of dedication to an artist.”

He adds that while anyone can stream, it takes a true fan to have the entire catalogue sitting on the shelf: “It’s a public display of affection… No one is looking over your shoulders at your Spotify.”

Vinyl is here to stay

Kennedy says he would like to continue running the vinyl charts: “It is here to stay.”

The vinyl revival has also triggered a resurgence of CDs – partly for that desire for physical media but also partly for those who struggle to afford vinyl.

He believes that over time the vinyl charts will become closer to streaming charts. With vinyl now a component of a modern release, the classic acts will fall away, unless they reissue their music.

However, those with disposable income will continue to influence the chart, buying their nostalgic favourites, Kennedy adds.  

Little did they know they’d pivot to address a major challenge in global health and food security.

From humble beginnings testing glycoproteins in honey, the biotech startup is now developing a platform that could transform how laboratories worldwide detect and manage antimicrobial resistance.

A much higher cause

The company’s journey began with a niche project: building a repeatable, reproducible test for glycoproteins in kānuka honey. 

The work, though specialised, led to a valuable commercial service and it was during this R&D phase that the founders saw a much bigger opportunity.

“We started with a very specific area in honey. Now we are actually targeting a much higher cause,” says Pinnamaneni. 

That cause is antimicrobial resistance (AMR), which the World Health Organization has described as one of the top global public health threats. 

The Experiment Company is developing precision hardware and software to automate bacterial resistance testing, a process that currently takes seven to ten days. 

Their system can cut that to just two to five days – saving laboratories up to 40% in costs and enabling a tenfold increase in throughput. 

Global impact

Despite being a team of just four, The Experiment Company has already been recognised as a finalist in the prototype category at Fieldays and the Parnell Innovation Awards. 

Plans are underway to establish a pilot production facility and distribute early hardware units to overseas partner labs. The feedback and data collected will form the backbone of their seed funding round planned for early 2026. 

With five years of perseverance, The Experiment Company is positioning itself for global impact. Its combination of commercial traction, IP protection, international validation and a clear fundraising pathway makes it an emerging biotech venture in New Zealand.

In 1975, as oil shocks unsettled economies and the space race reshaped how people imagined the future, Te Herenga Waka – Victoria University opened an architecture school that responded to the times with a bold experiment. 

It was founded on the conviction that design could not stand apart from science and technology. Decades ahead of their time, staff placed thermal performance and sustainability at the core, and elevated physics, structure and materials from supporting subjects to central forces sparking new approaches to the built environment.  

This was a contrast to Auckland’s long-established programme, which drew on the traditional Beaux-Arts model of studio training and professional practice. Wellington complemented that by reorienting the field toward science and technology as creative drivers of design. 

Half a century on, the spirit of that experiment endures in the extraordinary breadth of its graduates, whose work spans city skylines, industries, technology and ideas that reach far beyond New Zealand. 

A radical departure 

Wellington’s break with tradition was a deliberate choice. Founding professor Gerd Block drew on international reform movements of the 1950s and 1960s, particularly the 1958 Oxford Conference on architectural education, which urged schools to ground their teaching in science and evidence.   

Block assembled a faculty of engineers, scientists and designers in services, structure, lighting and building science. The team included John Gray, who taught communication and helped students articulate ideas as well as draw them; structural engineer John Webster; design theorist John Daish; and architect Wendy Light, recognised for her innovative use of colour. 

Within building science itself, three strands took shape: structures led by John Webster, construction by Tom Jarman and environmental services developed by George Baird and Kit Cuttle. George focused on heating and ventilation, while Kit developed lighting and acoustics. Research funding George secured enabled him to bring in a young physics graduate, Mike Donn, to join the work. 

The mix was unconventional, with no discipline dominant, giving students perspectives they never expected in an architecture school. Lighting specialist Kit Cuttle, one of the original building science staff, recalled Block’s conviction: “Students can only draw pictures until they understand the science of building. They need this to truly understand design.” 

Different from the start

From the outset, the school looked and felt different. It resembled less a traditional atelier and more a working laboratory. Barry Pearce, a founding staff member with a background bridging engineering and architecture, highlights how different the approach was: “Wellington stood out because it treated technology as something to inspire design. The aim was to get students to love technology, not fear it.” 

That philosophy was visible everywhere. Studios were stacked with wind-tunnel models, daylighting rigs, acoustic testing gear and thermal mock-ups. In one corner, students might be experimenting with giant icosahedrons and space grid structures. Everywhere you looked, instruments of science doubled as tools of creativity. 

A school of its place and time  

In Wellington, the concentration of government agencies, research institutions and technical specialists flowed straight into life at the new school, turning the city itself into an extended classroom. 

George Baird, one of the founding staff and head of building science, remembers the capital as “a special kind of place” where the department of scientific and industrial research, the ministry of works and development, the government architects, the education board, and the building research bureau were all within reach of the school. 

Students tested seismic performance with earthquake researchers, drew on Building Research Association of New Zealand (BRANZ) data for building performance, learned plate tectonics from geologists years before most schools overseas and absorbed ergonomics insights from Wellington Polytechnic. 

The 1970s also brought global and social upheaval that shaped the curriculum. Energy crises made efficiency and environmental performance urgent, with staff embedding these lessons into teaching years before many other schools did – a move that helped transform building standards in New Zealand, improving both costs and public health. 

It was, as Pearce recalls, “a very exciting time to be starting a school,” an era in which the space race, molecular science and new geometries were reshaping how people understood the world around them. The Wellington school absorbed all that energy, treating technology not as a means to an end but as a spark for ideas and inspiration. 

An egalitarian culture 

From the outset, Wellington widened the doorway into architecture. Where other architecture programmes were built around the authority of master architects, students were expected to rigorously test and assess ideas, challenge assumptions and work across multiple disciplines to reach well-considered and imaginative design outcomes. 

This ethos extended to admissions. Entry was tough, relying on solid grades in maths and science during the pre-entry intermediate year, rather than solely on a portfolio. Students could also enter directly from a science degree pathway, bringing a technical depth that further enriched the school’s design culture. 

In 1978, Gerd Block invited Helen Tippett, at the time the acting head of the school of building at Melbourne University, to become the school’s second professor and later dean of architecture at Victoria, making her the first female professor of architecture in Australasia. In Wellington, Tippett continued the work of building bridges across policy, industry and research.  

She was active on the BRANZ Board, became the first woman to lead the NZIA and was a founding member of the New Zealand Institute of Building. At university level she represented the interests of the new school and encouraged multi-disciplinary cooperation, influencing the school’s outward-looking identity. 

Tippett championed inclusivity, respecting Māori perspectives at a time when this was new in universities, and worked to broaden opportunities for a wider range of students. Tippett’s approach to teaching was also personal. As her daughter Victoria recalls: “She would invite whole first-year classes to our home as part of their orientation, so she could get to know them.” 

Hard-won recognition 

The early years were not without challenges. Even inside Victoria, some questioned whether architecture belonged in a university at all. One university figure allegedly dismissed the school as a “carbuncle on the side of the university.” 

That made external recognition crucial. In 1979, the school underwent its first full accreditation by the New Zealand institute of architects and the commonwealth association of architects. For a week, the visiting board examined teaching, facilities and student work.  

The outcome was decisive, with full approval for five years rather than a provisional nod. It was, as George Baird recalls, the moment the bold experiment proved itself and lifted the school’s profile both nationally and internationally. 

Design innovation arrives 

In 1999, Victoria University took the next step in broadening its experiment. A school of design was established alongside architecture, and in 2017 they jointly became the faculty of architecture and design. New degrees soon followed in industrial design, digital media and other fields, carrying the founding ethos of integration into territory far beyond the built environment. 

What began as an architecture school became a hub for creative disciplines at every scale. Students now move easily between urban systems, buildings, products and digital interfaces, always with performance, sustainability and human experience at the centre. 

Today, the faculty of architecture and design innovation (FADI) includes landscape architecture, industrial design, digital media, interior architecture, building science, fashion design, interaction design, construction management, construction health and safety, construction law and building surveying, and many more majors.

The university describes it as “a leading provider of innovative education in design and the built environment.”  It also cooperates internationally, with a thriving joint institute with Zhengzhou University that delivers degrees in architecture, landscape architecture and industrial design.   

A living legacy 

Half a century on from 1975, the experiment that began with 25 students has grown into a living legacy.  While many alumni are making their mark in all corners of the globe, there is also a strong contingent crafting world-class designs and winning international awards from offices located in the Te Aro basin, strengthening Wellington’s claim as the creative capital of the world.

FADI graduates dream up cities, push the boundaries of sustainable designs, prototype futures and create entirely new technologies. Their work ranges from nuclear fusion labs to alpine resorts, from prosthetics reinvented through digital manufacturing to new town precincts.  

On stage and the world stage

Some are shaping the look and feel of popular culture through film, stage and digital media, while others continue to advance architecture and the built environment across New Zealand and globally.  

What connects these pathways is not a single profession, but a shared mindset. The spirit of experimentation and collaboration that defined the school in 1975 still drives its graduates today and lives on in Paparahi – the pathways and tracks they continue to forge across disciplines, industries and cultures. 

Fifty years on, the experiment is still evolving. Paparahi: 50 Years of Architecture and Design Innovation runs from October 24-26 at Te Herenga Waka’s Te Aro campus, with an exhibition and public symposium celebrating the people, ideas and projects that shaped and continue to shape New Zealand design. 

New research commissioned by Uber has found that, for many Kiwis, it now takes around six weeks before they have time to donate their clothing – a significant increase from the typical two-week wait time in 2023 and 2024.

To turn this unused clothing into meaningful donations, the partnership allows Kiwis to book free donation pick-up through both the Uber and Uber Eats apps across Auckland, Wellington and Christchurch between 10am and 4pm on Saturday, October 18, 2025.

For people, for change

Talei Kitchingman, director of retail at New Zealand Red Cross, says: “Every quality item donated goes on to help us raise funds to support people in need across New Zealand – from emergency response, to refugee resettlement, to community programmes.

“And as part of the global Red Cross Movement, your donation also supports relief efforts internationally. When Kiwis donate their best quality clothes that they no longer wear, those donations go further than just filling racks in our Red Cross Shops – they help us raise more, waste less and support more people in need.”

The research also shows a gap between concern and action: 63% of buyers worry about fast fashion waste, yet 43% never buy pre-loved clothing. Younger Kiwis are driving change, with over two-thirds of 18–24-year-olds buying second-hand each year, compared to just 44% of those aged 55 and over.

Donations made easy

Emma Foley, managing director of Uber ANZ, says the Uber x Red Cross Clothing Drive is about breaking down barriers to donating while also helping communities who are supported from the purchases made from Red Cross Shops.

“From the research it’s clear that Kiwis want to donate, with a quarter (25%) donating clothes annually, but many are getting stuck at the final step. By making donating free, simple and convenient through Uber and Uber Eats, we’re empowering Kiwis to clear out their wardrobes and donate their best quality clothing directly to Red Cross.”

Last year’s Clothing Drive saw more than 42,000 kilograms of quality clothing donated, with 3,500 free Uber Courier trips recorded throughout the day. Stand-out donations included a fully tailored suit worn by New Zealand fashion icon Colin Mathura-Jeffree.

For more information visit Uber.com/redcross

Logitech’s MX Master 4 launch event is a party for a mouse.

At least, that’s how I describe it to my editor. And why not? As well as unveiling a new product, Logitech is also celebrating 10 years of the MX Master range – in style, at the Sydney Opera House.

The tech company calls the MX series “high-performance peripherals”, designed to enhance productivity and creativity.

In the last decade, there have been four versions of the mouse: the first in 2015, the second in 2017, the third in 2019 and the 3s in 2022.

At the launch, Logitech senior cluster category manager (ANZ) Marisol Vargas describes the latest iteration as “an experience, not just an upgraded tool”.

She says it takes productivity to the next level with customisable features so users can adapt it to their needs.

Spectacular starts

On September 30, our team of eight from Aotearoa arrived at the Sydney Opera House, excited to see what was in store.

We were slightly early – just in time to see the sun set over Darling Harbour. A pretty spectacular way to begin the night.

When we checked in, we got a silver and a gold ticket, plus an MX wristband. One of our group pushed a button on the band – it changes colour! Oooh.

MX Master 4: front, centre and glowing

The clock struck 6: time to head in to the opera house’s Yallamundi Rooms along with other local media, content creators, partners and collaborators.
A low-lit corridor opened up to sparkling wine, a DJ mixing beats and the MX Master 4 projected on a big screen.

And here were the mice themselves. All five from the last decade had their own pedestals. The new one was – of course – front, centre… and glowing. We played spot the difference between models while trying to get the perfect photo of the 4.

We’d be leaving with a mouse of our own, and discovered we could exchange our gold tickets to get them engraved. A neat way to add a hint of personalisation, I thought.
Across the room, our silver tickets were for the cocktail experience. On a digital MX Master 4, I scrolled to choose a drink that was fresh, wild and curious. It appeared suddenly from behind some curtains, complete with a large MX branded ice cube.

Making life easier

During the brief formalities, we heard from Vargas and Logitech cluster head and managing director (ANZ) Damian Lepore.

Lepore spoke to Logitech’s commitment to make products that are more than mice, keyboards and webcams.

“Looking ahead, people expect technology to complement lives. There’s no reason why this should standalone. Everything is designed from our perspective to work together and make life a little bit easier,” he says.

Vargas talked about the features that make the MX Master 4 unique: the Actions Ring shortcuts allows you quick access to tools and applications with your cursor. Meanwhile, the haptic feedback enhances usability even further, she says.

Work mode

Now back at my desk, I’ve had almost a whole day of trialling out my MX Master 4.

It’s clear my previous mouse, while also wireless and from Logitech, doesn’t hold a candle to this one.

For a start, the 4 tracks smoothly my desk. The old one would sometimes stick – though nothing  a bit of “percussive maintenance” couldn’t fix.

Being able to connect to my laptop via Bluetooth will make switching from working at the office and home a breeze.

The Action Ring overlay is a pretty neat feature and I’ve already customised some smart actions like “work mode” and “meeting mode”.

Fireworks to finish

Back at the event, as the speeches wrapped up, the wristbands lit up in unison, changing colours as the DJ kept the beats coming.

Enticed by the night time view of the harbour and the city lights, we popped out through the side door to get some more photos. As we did, fireworks erupted across the water.

“Do you think these are for the mouse?” we pondered. Yeah, nah. That’s just Sydney on a Tuesday.

Zahra was hosted in Sydney by Logitech.

Launched in 2023, the platform offers short-term, design-led pop-up spaces. The spaces give e-commerce and regional brands the chance to meet customers in real lifem without the overheads and rigidity of a traditional lease, Mamaev explains.

Fresh from reaching its 100th booking, Spacefor is showing no signs of slowing down, with bookings confirmed as far ahead as May 2026.

A launchpad for brands

Mamaev says both local and global brands have engaged with Spacefor. This includes Kiwi companies Moodi, Pals and Fix & Fogg to international players The ICONIC and Owala.

Each space creates a customisable retail experience with in-store analytics, digital screens, point of sale and custom modular fixtures.

For many brands, Spacefor has become a launchpad, says Mamaev.

After unveiling a new bike at their pop-up, FTN Motion went on to open a permanent showroom in Britomart. Menswear label Porter James Sports also ran three Spacefor activations before establishing its Newton store. Meanwhile, upscale bakery Fankery turned its annual Pavilion appearances into a permanent Newmarket home.

Experiences beyond the screen

“We believe retail should be accessible, dynamic and adaptable,” says Mamaev.

“Spacefor bridges the gap between online and offline. It gives brands the flexibility to connect with customers in ways that feel meaningful while still being agile.

“With our 100th milestone, Spacefor is cementing its place as a key player in reshaping retail in New Zealand. As consumers increasingly crave experiences that go beyond the screen, Spacefor offers a flexible canvas for creativity, community and growth.”

Bennett’s 30-year career has seen him work both in Aotearoa and the UK. After founding and managing TBWA\’s PR arm Eleven, he went on to establish One Plus One in 2013.

Now 12 years old, the business is going from strength to strength.

What does a typical day look like for you?

Honestly, most of my working days are a privilege and a pleasure. I tend to wake up before 6:00am. Then I check my phone, look at news and emails for a bit, and I’m often out the door for a quick run. I’ll probably have a lengthy chat with my friend and business partner Max Burt and spend time supporting our awesome clients. Bluntly, I’m usually trying to hustle something or ‘on the make’, as someone once charitably described my professional operating style. Nowadays, more often than not, I’m working on the business as opposed to in it, which is testament to the recent success and growth we’ve enjoyed.

What initially drew you to PR, and what keeps you passionate about it today?

I studied art history at university, then did a journalism degree. My first ever ‘proper’ job in the communications industry was in the TVNZ newsroom, starting at 11:00pm and working through until the early morning. I was the only one there, essentially to make sure that if something significant happened, a cameraman or journalist were dispatched to the scene. That stint with the Fourth Estate lasted six months and then I blagged the first entry level PR gig I could get, to be honest. Perhaps, in retrospect and without getting too glassy eyed, you could say I wanted to create news and not chase it.

With over 30 years of experience, what do you believe makes PR truly effective?

Lots of things need to happen at any one time to make something that you are communicating effective. Ultimately, I reckon it comes down to follow through and execution. Managing expectations. Making stuff happen. Then rinsing and repeating but getting incrementally better as you go along. That’s pretty much it.

What does winning awards mean to you personally?

Well, now that we’ve won a few and know what it feels like, to be able to say with confidence and conviction we’re the PRINZ 2025 Agency of the Year feels absolutely brilliant! It’s a way of validating the growth, development and maturity of our business, which I’m exceptionally proud of. I’m a competitive person, and as a team we want to stay quietly ambitious and win more and more of them!

How would you describe your leadership style?

Fair? Devolved? I’m not even sure I have one, to be honest, and if I did it wouldn’t be for me to say. I asked Max and he said: “free-range, organic and pesticide free”.

How do you balance work and personal life?

We work Monday, Wednesday and Thursday in our Parnell office – it suits us well and breaks up the week. On Tuesdays, I often work at Piha looking over the ocean and can get stuff done there that our office just won’t allow. After 12-consecutive years of growth, I’ve realised you have to pace yourself and take steps in and out of the business. I’m super fortunate we’re doing so well, although I often think that’s only come about because of lots of hard graft and consistently showing up, day after day.

Do you have a mentor who’s shaped how you work or lead?

Ironically, I’ve realised in later life it’s actually David Walden, former CEO of TBWA. A charismatic throwback to the Mad Men era. He was also kind-hearted, ambitious, encouraging, and street smart with it. I’ve tried to take the best, and reject the worst, of my influential time working alongside him.

Do you follow any business philosophy?

Presently, it’s neatly summarised by advertising icon Sir John Hegarty, who I was fortunate to reconnect with again earlier this year. The BBH (Bartle Bogle Hegarty) founder encourages us all to “do interesting things and interesting things will happen to you.” And he does this by maintaining a world view that’s curious, creative and proactive. We try to channel this attitude and ethos through all our efforts and outputs at One Plus One.

The answer: Tertiary Extracts Ōtautahi (TEO), a company that is all about championing women’s health while being backed by science, says co-founder Paul Sapsford.

Set up in 2021, TEO takes sheepskins and turns it into collagen.

The process is obviously a lot more complicated than that: “We’re using technology and science with patented new extraction methods so we can get the best out of these sheepskins,” he explains.

Launching in the US

TEO’s collagen has a different amino acid makeup compared to other brands on the market, says Sapsford.

TEO’s branded ingredient, called Ovitage, contains cystine, tyrosine and glutamic acid. This amino acid profile works to target the gut, joints, mood, cognitive clarity and muscle strength, he adds.

After buying a factory in Ōtautahi in May last year, the company went into production in September. In that time, it has sent two orders of Ovitage over to the US.

At Fieldays earlier this year, the company also launched Everee Women, a consumer-facing brand of collagen powder that contains Ovitage. There are plans to launch this in the US next year, says Sapsford.

Making a difference

Startups are challenging but Sapsford and his co-founders, scientist Rob Kelly and senior leader Kimberely Bray, are all passionate about their work.

It helps, Sapsford adds, that all three are good at what they do.

“Kim is great at management, comes from a big company background… Rob’s got hundred of patents, 30-odd published papers, two published chapters, he’s a brilliant scientist.

“And I love sales and translating our vision into something people can buy into. So there’s motivation and then the skills and being able to pull that together.”

While all three founders have different backgrounds and areas of expertise, these all converge on making a difference for women’s health, says Sapsford.

Bray’s lived experience of perimenopause was one of the key inspirations for TEO. The founders noted: 1) that the women’s health market is typically underserved and 2) the positive benefits that can be derived from natural materials here in Aotearoa.

“The products that are available for them are more skewed towards appearance and beauty. So most nutritional products have been designed by men for men, and we can put a pink label on them but that doesn’t mean they’re specific to the requirements of women,” says Sapsford.

“So we know that we can make really good, effective products that have an impact on people’s lives and we want to be able to do that for women by supplementing and assisting with some of the signs of menopause.”

Circular economy

Sapsford is particularly driven by the idea of the circular economy and creating products that add value.

“If we’re going to be growing animals, and it might be controversial but we’re not going to stop any time soon, let’s use and respect all of the animal,” says Sapsford.

Sheepskins don’t really have a use in this day and age, but they have high nutritional value, he adds. To add even more incentive to reduce waste, the skins are highly toxic if they end up in landfill.

“By turning it into something that has real value and that people want, that’s respect for the animal, that’s using all of our resources.”

The company now has a permanent team of about 20 people. Sapsford says that it has also been working to encourage more young people into STEM jobs.

“When you do a science degree, you don’t necessarily expect to be wearing white coats and boots and hair nets, but we are doing proper chemistry in 12,000 litre tanks.”

Built by Reuben and Rebecca Bijl, the app combines Rebecca’s flower photography with wellbeing and mindfulness practices.

“Jasmine is designed to feel like stepping into an art gallery on your phone,” says Reuben, founder of Kiwi app development company Smudge.

“It’s about taking a moment for yourself, enjoying beautiful flower imagery and engaging in thoughtful well-being practices.”

Wellbeing, not subscription

Reuben says Jasmine is an alternative to international wellbeing apps that have become increasingly commercialised.

“A lot of popular international apps are now all about triggering dopamine hits and getting users to sign up to paid plans,” he says.

“Jasmine is the antidote to that. It’s simple, calming and focused on genuine wellbeing rather than pushing subscriptions.”

Bloom your best self

Rebecca, a photographer, captured the app’s images using flowers from her garden, as well as from foraging, and nearby flower farms.

She says that flowers are the perfect imagery for the app. Studies show they have a significant calming effect, helping to reduce stress and anxiety while boosting mood.

“Working with flowers helps me to feel really calm and present, and I wanted to recreate that feeling in Jasmine,” Rebecca says.

“You have to take care of your flowers if you want them to bloom. It’s the exact same with self care, and this app is designed to help people be the best version of themselves.”

Built for you

She adds that Jasmine is built for life’s in-between moments. Whether it’s waiting for a bus, arriving early to meet a friend, or taking a quick break.

“Phones can be addictive. Instead of mindlessly scrolling social media, Jasmine helps users to stay present and take a moment for their wellbeing.”

Creating the app together was a highlight for the couple.

“It was such a cool opportunity to get to work together. We amplified each other’s strengths and have created something we’re really proud of,” says Rebecca.

Jasmine has been built using Liquid Glass, Apple’s new design language which allows for fluid movement.

It is now available for free download on the App Store, with an optional donation model.

Two types of folks tend to ask me for advice on which mobile phone to get: seniors and school kids, though the latter are exclusively my own. (And they’re not asking for opinions, but which price bracket they can get away with.)

I’m struck by how similar their requirements are though: neither wants (or will be allowed) the latest flagship but both need something that will cope well with calls, messaging, photography, simple games – and survive being used by a butterfingers, as well as with buttery fingers. In the A5 Pro 5G, Oppo has ticked all those boxes and more.

Massive battery, check. Fast charge, check. Water and dustproof, check. Military standard durability, check. So far, so good. 

In the hand, the A5 Pro 5G looks and feels like a much more expensive device, with a swish leather-patterned back panel. Side by side with Oppo’s Reno 13 Pro, which costs almost three times as much, there’s not much to tell them apart. 

The 120Hz display is super smooth in use and bright, too, but isn’t the highest definition. It does however boast an interesting Glove Touch mode, which boosts screen sensitivity to let you use the device without needing to remove your gloves: great for folks who wash a lot of dishes – but a real selling point for all sorts of tradies who need fast access to their phone while working.  

‘One of the best on the market’ 

To see how the A5 Pro 5G held up in use, I handed Oppo’s review device over to our teenage son and waited to see how much scorn would be poured on it. The IP69 protection rating must also protect against disdain though – because the reaction was generally good. 

The fingerprint sensor on the power button was deemed “really good” and “way quicker than any under-screen sensor anywhere near the price range”. Also praised was “game mode”, for being “very useful, giving you loads of options so you can do what you want to do quicker”.

My son has mainly used Samsung Android phones with their One UI skin so I was intrigued to hear his thoughts on Oppo’s own ColorOS skin. “One of the best on the market”, he reckoned, “a solid 7 or 8 out of ten”. And there was special mention made of the “amazing” AI editing tools that let you remove blur, reflections and even random objects or people from your photos on the device itself. 

The file dock and quick panel were also acclaimed as “really useful: they let you copy files, text and images to a handy clip board that you can open at any time”.

Pushed for some negatives, our teen tester reckoned the camera was a bit of a let down. It was fine in the main, but lost definition and sharpness when zoomed in to anything. Stick to point and shoot though and most folks will be quite happy with their pictures.

‘Can withstand plenty of drops’

Any other comments, kiddo? “It’s ridiculously durable and can withstand plenty of drops with barely a scratch.” How does he know that? It fell out of his shorts while he was playing basketball — on a concrete court. But “it’s OK, dad, it only has a few tiny scratches on one side”. Oppo shoots, Oppo scores.

With an asking price of $500, the A5 Pro 5G is a solid, budget device with a long-lasting battery and a very long-lasting build quality. Three cheaper variants of the handset are also on the market: the $229 A5x, the $299 A5 and the $319 A5 5G. Though compromised to meet those price points, each offers varying degrees of dust and water protection but they all have military-grade shock resistance and large batteries. 

Oppo A5 Pro 5G specifications

• Dimensions: 165 x 76 x 7.8 mm
• Weight: 196g
• Screen: 6.67-inch IPS LCD, 120Hz, 1160Hz PWM, 1000 nits
• Chipset: Mediatek Dimensity 6300
• RAM: 8GB
• Storage: 256GB
• Operating system: Android 15, ColorOS 15
• Main camera: 50 MP, f/1.8
• Selfie camera: 8 MP, f/2.0
• Audio: Stereo speakers, no 3.5mm jack
• Battery: 5800 mAh with fast charging
• Price: $499