Tailor Skincareâs Renew is a probiotic serum thatâs already picked up an Innovation Award for Best Formulation from the New Zealand Society of Cosmetic Chemists. For the service of our readers, we put it to the test, as we do with other products that come across our desk.
In the case of Renew, I wanted to get a real-world sense of how it might work. Believing in âtested on humansâ, my other half came to the rescue, putting the serum on one hand but not the other at night.
Within a day there was a noticeable difference where the serum had been applied: the skin felt softer and smoother to the touch, even healthier. Things continued to improve over the week: it really works.
It did exactly what Tailor claims: it stimulated and revitalized the skin, thanks to its probiotic lysate and grape seed extract. The lysate-based Prorenew Complex CLR ingredient is unique to Tailor, while grape-seed extract is a known antioxidant that protects the skin. These work with the bodyâs own processes.
âRenewâ is an honest claimâhereâs a product whose name is a real claim to what it does.
Tailor recommends that it be used for the face and neck after cleansing and moisturizing, using âa pea-sized amountâ. It works with all skin types.
Tailor Renew, retailing for NZ$69, is made in New Zealand, and is cruelty-free.âJack Yan, Publisher
Above: Sir Tim Berners-Lee, the inventor of the World Wide Web.
Earlier this month, Sir Tim Berners-Lee wrote an open letter expressing his concerns about the evolution of his invention, the World Wide Web. (Interestingly, he writes the term all in lowercase.)
It wasnât just about âfake newsâ, which is how the media have reported it. His first concern was, in fact, about our losing control over our personal data, and determining when and with whom we share them. Itâs something Iâve touched on regularly since 2011, when Google breached its own stated policies over user-preference collection for advertising purposes, something that Facebook appears to be following suit with mid-decade. This was long before Edward Snowden blew the lid on his governmentâs monitoring, something thatâs happening to citizens of other occidental nations, too.
Sir Tim writes, âThrough collaboration withâor coercion ofâcompanies, governments are also increasingly watching our every move online, and passing extreme laws that trample on our rights to privacy. In repressive regimes, itâs easy to see the harm that can be causedâbloggers can be arrested or killed, and political opponents can be monitored. But even in countries where we believe governments have citizensâ best interests at heart, watching everyone, all the time is simply going too far. It creates a chilling effect on free speech and stops the web from being used as a space to explore important topics, like sensitive health issues, sexuality or religion.â
But the one that struck me as very pertinent to publishing is Sir Timâs second point. Itâs the one that most news outlets seized on, linking it back to âfake newsâ, a term now corrupted by the executive branch of the US Government when attacking coverage that it doesnât like. However, Sir Timâs points were far broader than that. And itâs evident how his first point links to his second.
Itâs not hard to see that there is biased coverage on both the right and right wings of US politics (interestingly, they call it left and right), although Sir Tim points to how âa handful of social media sites or search enginesâ show us the things that appeal to our own biases through their algorithms. âFake newsâ then spreads through these algorithms because they play to our prejudices. He writes, âthose with bad intentions can game the system to spread misinformation for financial or political gain.â These sites are able to determine what we see based on the data weâve given them, willingly or unwillingly.
Itâs so far from the ideals of the World Wide Web that itâs sad that the medium, which was once so expansive and inspirational as we surfed from one site to the next to read and absorb information, has come to this: a tool for becoming more insular, the first path to the idiocracy.
Google, as I wrote last year, biases itself toward larger sites, no longer rewarding the media outlet that breaks a news item. The incentive to be that maverick medium is, therefore, lessened greatly online, because the web isnât being ranked on merit by the largest player in the search-engine business. Itâs why Duck Duck Go, which doesnât collect user data, gives search results that are generally fairer. We think itâs important to learn alternative viewpoints, especially in politics, otherwise the division that we already see in some countries will only deepenâand at worst this can lead to war. In peacetime countries, a compatriot with opposing political thoughts is not our enemy.
Facebookâs continued data collection of user preferences is also dangerous. Even after users opt out, Facebookâs ad preferencesâ page demonstrates that it will keep collecting. Whether or not Facebook then uses these preferences is unknownâcertainly Facebook itself clams upâbut since the site reports journalists who alert them to kiddie porn, kicks off drag queens after saying they wouldnât, and forces people to download software in the guise of malware detection, who knows if any of Facebookâs positions are real or merely âfake newsâ? Knowing the misdeeds of sites like Facebookâand Google which itself has been found guilty of hackingâdo they actually deserve our ongoing support?
Of course I have an interest in getting people to look beyond the same-again players, because I run one media outlet that isnât among them. But we have an interest to seek information from the independents, and to support a fair and neutral internet. We may learn an angle we hadnât explored before, or we may find news and features others arenât covering. Better yet, we may learn alternative viewpoints that break us out of our prejudices. Surely we canât be that scared of learning about alternatives (maybe one that is better than what we believe), or having a reasoned debate based on fact rather than emotion or hatred? And if you are sharing on social media, do you want to be one of the sheep who uses the same click-bait as everyone else, or show that youâre someone whoâs capable of independent thought?
It shouldnât be that difficult to distinguish fake-news sites from legitimate media (even though the line gets blurred) by looking at how well something is subedited and how many spelling mistakes there are. Perhaps the headlines are less emotive. There is a tier of independent media that deserves your support, whether it is this site or many competing ones that weâve linked ourselves. Going beyond the same-again sources can only benefit us all.âJack Yan, Publisher
Stars in their eyes
Above: Chanel continues its long-running ComĂšte collection.
Coco Chanel is known for embracing astrology. Her inspiration is reflected in many of her jewellery creations and designs years later. The star motif is highlighted within the ComĂšte collection and while the lion, representative of the brand, is reminiscent of the city of Venezia and symbolic of her astrological sign. The designerâs influential vision comes to life within many of the intricately detailed pieces.
To this day, astrology serves as a tool that could provide one with knowledge and even supposed explanatory perceptions. Fashion-focused entities and individuals have contemplated to what extent oneâs rising sign or ascendant, representing the door to oneâs identity, is correlated to oneâs wardrobe and personal style. Some inquisitive individuals ponder about personalities, style and even probable futuristic outcomes in the financial field. The AstroTwins, Tali and Ophira Edut, who have been featured in a number of outlets, have given advice to a slew of celebrities. While they focus mainly on various predictions according to the stars, some have used astrology to tap in to the financial market. The Merriman Market Analyst is one of the many prominent sites that discuss and explain transformations and changes in planets that could serve in financial as well as everyday astrology. Other than the website, they have published books for international audiences, divulging and examining the planets and geocosmic aspects. According to the websiteâs disclaimer, ‘The hope is âŠ it will help the reader understand the psychological dynamics that underlie (or coincide with) the news events âŠ’ For decades, the founder continues to ponder on certain circumstances, whether on a weekly or yearly basis, leading a team of apprentices that follow in his footsteps.âLola Cristall, Paris Editor
You’re going to make it after all When visiting Minneapolis many years ago, I photographed the now-famous statue of Mary Tyler Moore doing the “hat toss” from the credits of The Mary Tyler Moore Show.
When I asked my colleague Nathalia Archila to write an obituary for Mary Tyler Moore, it reminded me of an episode of The Mary Tyler Moore Show where Mary Richardsâ boss, Lou Grant, asks her to update obituaries as part of her job. It seems there are plenty of links in my life to The Mary Tyler Moore Show, a show I grew up watching.
I have a connection with the show as a fan: I once ran the biggest email list for the series and its spinoffs. Called The Mary & Rhoda List, it was a place where other fans could discuss their favourite moments and keep up to date with the stars. It was originally run with a bunch of addresses, before I shifted it to Egroups, which later became Yahoo! Groups. For many years now, while Iâm still listed as the admin, itâs been run by Sandy McLendon, a US-based fan.
The list did catch the eye of co-star Valerie Harper, who one year sent me a nice autographed copy of her book for Christmas, along with a wee note. It was an acknowledgement of a job well done. But when Facebook and social media became the norm, the group became much less frequented.
But why did this show have such an impact? In the 1970s, there was the backdrop of feminism, and watching The Mary Tyler Moore Show did give me the notion that women should be treated as equals to men. An underlying feminist theme existed in many of the episodes, and the absence of pay parity was directly addressed in one of them. I was too young to have noticed the references to Mary spending the night at a boyfriendâs or the fact she was on the Pill, but what I did see as a child was a Mustang-driving woman who had an independent life and a nice apartment. Why couldnât all women do what they wanted and not be subject to what society dictated? Perhaps it appealed to my nonconformist mindset, something which Iâve had my entire life.
I canât be the only middle-aged man today who gained some awareness of feminism and equal rights through this show.
I might have even gained the notion of working in the media through The Mary Tyler Moore Showâafter all, plenty of people became comedy writers after seeing The Dick Van Dyke Showâand, perhaps to a similar degree, Tabitha (think The Mary Tyler Moore Show if Mary Richards was a witch living out in California).
In reruns I discovered the snappy writing and directing of The Mary Tyler Moore Show, and when you compare it to the shows that had just gone beforeâThe Beverly Hillbillies comes to mindâit was realistic, urban and sophisticated. American films had become more gritty around that time, and television followed. While somewhat idealized, and certainly not as downbeat as All in the Family, the successful US remake of Till Death Do Us Part, you could associate with the characters. You simply couldnât on the other show about a Texas oil millionaire living in Beverly Hills. Showing it to my other half tonight, she remarked at how little it had actually dated: there still isnât pay parity for women, for instance, and women over 30 are still under pressure from society and, sometimes, family, on whether they will get married and have kids. I worked out that this show aired 47 years ago, and 47âs a lot nearer to 50 than it is to 40. Half a century and weâre still not giving women their due.
Itâs a show I have enjoyed regularly, including its reruns in the late 1990s, though, interestingly, its most acclaimed episode, ‘Chuckles Bites the Dust’ (1975), isn’t my favourite. I even had the 2000 TV movie, Mary & Rhoda, recorded by friends in the US and air-mailed over here, though it was such an appalling production that I wondered if it was worth the trip.
Again in reruns, I became a fan of The Dick Van Dyke Show. I wasnât born during that showâs original run; instead, I had seen van Dyke and Carl Reinerâs later effort, The New Dick Van Dyke Show. And Dick van Dyke, of course, was the silver-haired man giving us fire safety messages on New Zealand TV then, presumably adaptations of US PSAs. The Dick Van Dyke Show gave us a look at an extremely fun jobâthat of comedy writersâbut there was also plenty of romance between van Dykeâs Rob Petrie and his screen wife, Laura, played by Moore. Maybe that, too, was idealized, but I see elements of that in my own relationshipâthat if youâve got to keep it going, you need to inject some fun. I saw myself as a Rob Petrie kind of guy, and I might never have watched the earlier show if it wasnât for Mooreâs involvement.
Above, from top: Sign at the Mary Tyler Moore Table at Basil’s. The Mary Tyler Moore Table at Basil’s at the Marquette Hotel. Where the exterior shots of Mary Richards’ first house were filmed, at Kenwood Parkway. The Midwest Plaza, where the fictional WJM-TV was located.
Naturally, when I was in Minneapolis, the setting of The Mary Tyler Moore Show, I stalked the locations of the house used in the exterior shots of Maryâs original apartment, had a jog along the Lake of the Isles, snapped a photo of where the fictional WJM-TV was, as well as visited the statue of Moore on Nicollet Mall (once Nicollet Avenue) that commemorates her "hat toss" in Reza S. Badiyiâs opening credits for the sitcom.
I headed to Basilâs at the Marquette Hotel for lunch and sat at what is now called the Mary Tyler Moore TableâMoore sat at this table with an unnamed actor in later versions of the creditsâand, naturally, I got there by Ford Mustang, the same make and model of car she drove in the show.
When Mooreâs death was announced this morning here, it gave me time to reflect on just how big a part her work had played in my life. And how the messages of her âtwo Camelotsââtwo highly successful, much-watched TV seriesâresonated with me in different ways.
The last time I saw Moore on TV, she was in a sitcom that co-starred Betty White, Hot in Cleveland. It reunited Moore with Harper, White (who was the sexually charged Sue Ann Nivens on The Mary Tyler Moore Show), Georgia Engel and Cloris Leachman (Georgette and Phyllis on The Mary Tyler Moore Show). The fact sheâs now gone means we wonât get these surprise reunions any more. However, we can still wander down memory lane, and her work is widely available on DVD.
As we wandered in this piece, what we probably should be aware of is how hard-fought the victories of the feminist movement were. We must also realize, particularly in Mooreâs own country, how there are forces prepared to undo them: their presidential elections evidenced this, with men and women quite divided on whom each group chose. Some would rather see us go back to the past, to an era even before the Petries. However, progress must continue, as weâve more to gain from diverse voicesâyet another message I recall from The Mary Tyler Moore Show.âJack Yan, Publisher
The two Camelots: the Petries’ living room was the hippest fictional place to be in the early 1960s, with Dick van Dyke and Mary Tyler Moore as Rob and Laura Petrie in The Dick Van Dyke Show. Ed Asner with Moore in the pilot episode of The Mary Tyler Moore Showânot the first take. The original first-season cast of The Mary Tyler Moore Show, clockwise from top left: Valerie Harper, Ed Asner, Cloris Leachman, Ted Baxter, Mary Tyler Moore, and Gavin MacLeod.
Mary Tyler Moore, the multi-Emmy-winning star and Oscar-nominated actress, died aged 80 on Wednesday in Greenwich, Connecticut.
Publicist Mara Buxbaum issued the following statement: âToday, beloved icon, Mary Tyler Moore, passed away at the age of 80 in the company of friends and her loving husband of over 33 years, Dr S. Robert Levine. A ground-breaking actress, producer, and passionate advocate for the Juvenile Diabetes Research Foundation, Mary will be remembered as a fearless visionary who turned the world on with her smile.â
Moore was born in Brooklyn, New York, on December 29, 1936. At 17, she wanted to be a dancer, with her dance training evident in one of the first roles that brought her national attention: the Happy Hotpoint elf, who danced across the screen as the mascot for Hotpoint appliances. She had a small role in Richard Diamond, Private Detective, and she guest-starred in numerous other TV shows.
However, in 1961, Moore hit the big time when Carl Reiner cast her in The Dick Van Dyke Show. Moore saw herself as an aspiring dramatic actress, but found herself one of the most gifted comedic artists of her generation. It was Reinerâs second attempt at making the series (which he originally wrote for himself to star in), produced by Danny Thomasâs company. Thomas himself remembered Moore from an earlier role and recommended her to play opposite star Dick van Dyke as his screen wife.
Despite an age gap between herself and van Dyke of 11 years, the two actors hit it off, and both have said since that they had crushes on each other. Her role was meant to have been a smaller oneâeffectively the straight man to van Dykeâs Rob Petrie character when he came home from the officeâbut recognizing her talents, her role began to expand.
After a rocky first season that saw producer Sheldon Leonard approach sponsors to save the show, The Dick Van Dyke Show took off for its second season in 1962, and never looked back.
The show was regarded as ground-breaking for showing a modern, white American couple in the suburbs, and Moore herselfâas a young motherâwore capri pants as Laura Petrie, which brought her much attention, as well as complaints from less tolerant viewers. Mooreâs catchphrase, âOoh, Rob,â became linked to her. She won two Emmys for her role as Laura Petrie, from three nominations.
Van Dyke shared the clip below via Twitter on hearing of Moore’s death.
Many of the key people on the show wanted to do other thingsâvan Dyke had the beginnings of a movie careerâand The Dick Van Dyke Show ended its run in 1966, on a high. Moore had numerous smaller roles, including one as a nun in the Elvis Presley starrer Change of Habit, but audiences still associated her with the Laura Petrie character. After appearing on a one-off van Dyke TV special, Moore and second husband Grant Tinker pitched a new sitcom to CBS.
CBS effectively approved the sitcom based on Mooreâs star power, though there were many road blocks in getting The Mary Tyler Moore Show made, as recounted in 2013 by Jennifer Keishin Armstrong in her book, Mary and Lou and Rhoda and Ted and All the Brilliant Minds Who Made The Mary Tyler Moore Show a Classic. The network had expected the show to be a flop, an early cut of the pilot didnât find favour, and even co-star Ed Asner almost didnât get his Lou Grant role, one that he is best known for. However, Moore, Tinker, and the team persisted, and The Mary Tyler Moore Show was one of the 1970sâ most acclaimed sitcoms, earning Moore four Emmy wins from eight nominations. The Mary Tyler Moore Show was, on the surface, an urban show that marked the dawn of the 1970s, after an era of rural-themed sitcoms such as The Beverly Hillbillies. But it was unheard of to show a young, single woman in her 30s forging a career and her own path in life. The show still stands up to scrutiny today for its writing and pace. Producers James L. Brooks and Allan Burns were committed to show a slice of realityâMoore could be seen repeating outfits during a season as a real working woman wouldâand to get a womanâs point of view, the show wound up hiring numerous female writers. It was implied in one episode that the fictional Mary Richards had stayed over a boyfriendâs, and another that she was on the Pillâboth elicited viewer complaints at the time. The Mary Tyler Moore Show tapped into the USâs conscience, with the growing womenâs movement. It also spawned imitators, including the short-lived sitcom Diana, with Diana Rigg, and the similarly short-lived Bewitched sequel, Tabitha. Behind all seven seasons were Moore and Tinker, who had formed their own production company, MTM Productions, Inc. MTM went on to produce numerous other shows, including spin-offs Rhoda, Phyllis and Lou Grant, as well as The Bob Newhart Show, WKRP in Cincinnati, Hill Street Blues, St Elsewhere, Remington Steele and The Pretender.
Moore considered herself lucky to have been involved in âtwo Camelotsâ: two series that had broken ground in their respective times. While continuing to remain active on stage and screen, few projects were as well connected to Moore in the public mind. Moore did receive an Oscar nomination for her role in Ordinary People (1980) as a mother grieving the death of one of her sonsâa situation that had a tragic parallel that year as Mooreâs son, Richie, by her first husband Richard Meeker, accidentally shot himself in an accident.
Moore and Tinker divorced in 1981, and she married her third husband, Dr S. Robert Levine, in 1983.
Later projects included telemovie sequels to both The Mary Tyler Moore Show (Mary and Rhoda, released in 2000âand never had the spark of the original) and The Dick Van Dyke Show (2004, written by creator Carl Reiner and called its 159th episode). As covered in Lucire in 2012, van Dyke presented her with a SAG lifetime achievement award.
Moore was diagnosed with Type 1 diabetes in her 30s and was an active campaigner for the JDRF, formerly the Juvenile Diabetes Research Foundation. She was also an animal rights’ activist and a vegetarian.âJack Yan, Publisher, with Nathalia Archila
Above: Mary Tyler Moore receives a lifetime achievement award from former co-star Dick van Dyke.
Welcome to Lucireâs 20th anniversary year.
Remember that if you donât see a news update (which will come with an RSS update), you can go to the main part of the website and check out our features.
In the last couple of weeks, weâve had Lola Cristallâs 2017 living guide; an archive interview with Thor director Taika Waititi; one of Stanley Mossâs best travel pieces to date, on five Italian centres, and another on Flemings in London; Elyse Glickman heading to Seoul, and Jack Yan testing the Mazda 3, or Mazda Axela. Weâve also looked at a natural skin care range, Kokulu, and made our picks from the springâsummer 2017 shows from New York Fashion Week.
And, of course, thereâs our print edition: issue 36 features stories on Delikate Rayne and authorâfilmmaker Leslie Zemeckis, and itâs a particularly strong issue on female power. Never mind the outcome of a certain countryâs election: as Bhavana Bhim writes in the opening feature in issue 36, women have been increasing their power throughout the ages.
Expect to see more of our Golden Globesâ suites coverage with Elyse Glickman this weekend in the news section, and more fashion, beauty, travel and living features through January.
Above, from top:Meistens Mozart. An excerpt from Political Mother. Pas de deux from The Sleeping Beauty.
The New Zealand School of Danceâs Graduation Season once again brings an expertly executed programme, mixing genres from classical to modern to experimental. Among the programme tonight were three premières: Helgi Tomassonâs Meistens Mozart was performed for the first time in New Zealand, while Amber Hainesâs Incant and Jiři Bubeničekâs Dance Gallantries received their world premières on opening night of the season at Te Whaea. Meistens Mozart started the evening and showed that, with the right arrangement and choreography, the German language could be made cheerful. Songs by Wolfgang Amadeus Mozart, Carl Ditters von Dittersdorf, Bernhard Flies and Jakob Haibel, sung by the Tölzer Boysâ Choir, accompanied the six dancers, the standout of whom was George Liang. Liang had previously been at Canadaâs National Ballet School, and we had seen him perform last month at the Republic of Chinaâs National Day celebration. There were no opening-night jitters from any of the six, who instantly transported us to an alpine society, celebrating springtime love, courtship and playfulness.
The all-male He Taongaâa Gift was an energetic and intense performance where drumbeats from Whirimako Blackâs âTorete te Kioreâ soundtrack sparked sudden moves, a demonstration of control and strength from the 14 dancers. Choreographed by Taiaroa Royal and Taane Mete, He Taonga was created for the School in 2009 and reprised tonight.
Opening the second section, Laura Crawford and Yuri Marques were like delicate dolls in their pas de deux from The Sleeping Beauty, Act III, with the choreography after Marius Petipa. Marilyn Rowe, OBE staged and coached, while Qi Huan was répétiteur. This was a tough ballet piece to get right and the pair got stronger as they performed, gaining confidence and drawing us into their romance.
Taking a complete tangent into modern dance was the solo performance of Glitch, a new work from NZSD tutor Victoria Columbus, whose talents we most recently saw at the World of Wearable Art, where she serves as director of choreography. The movements themselves were created by graduate Connor Masseurs, who performed the dance, playing the part of a “glitching” robotic man short-circuiting on stage with skilful, shuddering movements. Masseurs completely absorbed us with his solo: it wasnât just his limbs that Masseurs controlled, he extended the idea to facial movements, inventively finding new ways to glitch. Masseurs first performed the dance at the Grand Théâtre at the Maison de la Culture de Tahiti as part of a gala at the Académie de Danse Annie Fayn. Incant was mysterious, brooding, and ethereal: this all-female work saw dancers come together to generate new shapes, conveying to us notions of clouds, trees in a forest, or tunnels, at times passing a lit sphere between them. Hainesâs choreography was meant to question traditional notions of beauty and got us successfully focusing on the collective moves of the dancers. âThis world,â she notes in the programme, âinvokes a mesmerizing state of collective consciousness and celebrates the power and luminous beauty of shared intention.â A captivating work, it ended the second set of dances. Dance Gallantries was another more traditional work, with 10 dancers telling more playful stories of romance, complemented by Otto Bubeničekâs colourful costume design and solo violin music by J. S. Bach.
A group of 12 performed an extract from Political Mother, the eveningâs one political work with jarring music and clever choreography by Hofesh Shechter. A couple merrily folk-dances in a town square, happy to be part of their society, but are they genuinely happy or manipulated by the state? Their expressions seem to suggest the latter, fooled into believing that all is well and happy in their naïveté. The action moves on to a prison, where the music is muffled and dancers ape being restrained by either arms or ankles. The final scene, with a large group of dancers back in the town, show that the entire society has succumbed to the illusion, raising their arms in acceptance. It makes you question about the times we live in, and whether intellectual discourse is suppressed in favour of simpler ideas, a population told to be happy without really knowing why.
Finally, Tchaikovskyâs music from The Nutcracker was excerpted for the upbeat Tempo di Valse, with the NZSD returning to a ballet to finish the evening. The âWaltz of the Flowersâ was instantly recognizable, the 15 dancers showing classical movements. Nadine Tyson choreographed, while the colourful traditional costumes were designed by Donna Jefferis.
Depending on the show, the pas de deux from The Sleeping Beauty may be replaced by Jack Carterâs Pas de deux romantique, with music by Rossini; while Glitch may give way to The Wanderer, choreographed by Columbus and perforned by Liang.
The season runs from November 16 to 26 at Te Whaea in Wellington, New Zealand, with prices ranging from NZ$18 to NZ$33. Tickets can be booked at the New Zealand School of Dance, or online at nzschoolofdance.ac.nz/book-tickets. Weâd rate it another must-see, especially to catch some rising starsâwe understand that some are off overseas, already snatched up by dance companies.âJack Yan, Publisher
Above: The moment: Tania Dawson hears the news that she’s been working toward for most of 2016, that she is the new Miss Universe New Zealand. Centre: After the announcement, Samantha McClung crowns her successor, Tania Dawson, Miss Universe New Zealand 2016. Above: Second runner-up Larissa Allen (left) and runner-up Seresa Lapaz (right) flank Miss Universe New Zealand 2016 Tania Dawson.
Secondary school drama and music studiesâ teacher Tania Dawson, 23, was crowned Miss Universe New Zealand 2016 Saturday night at Skycity Theatre, taking home prizes including a stay at Plantation Bay Resort & Spa in Cebu, Philippines and the use of a Honda Jazz RS Sport Limited for the duration of her reign.
Dawson, who is of half-Filipina extraction, was also the crowd favourite, with a large group of supporters in the live theatre audience.
The event proved to be a Filipina one-two, with Seresa Lapaz, who was born in the Philippines but is a naturalized New Zealander, coming runner-up.
Both ladies hail from Auckland, while second runner-up Larissa Allen comes from Tauranga.
Dawson was crowned by her predecessor, Samantha McClung, who flew from Christchurch to join 2013 titleholder Holly Cassidy in a special parade featuring the exclusive designs of Ankia van der Berg of Golden Gowns.
The sold-out audience enjoyed entertainment from special guest performers Stan Walker, Frankie Stevens, and Ali Walker, as well as the cast of Oh What a Night!, who appeared in a recorded segment filmed earlier on Saturday.
The destination for Dawson, as well as the other national titleholders, is uncertain, but there have been suggestions it could be the Philippines, and already Lapaz has vowed to support her former competitor should she venture there.
Dawson says she sees herself as an advocate for education, and entered the competition because she wanted to practise what she preached: to challenge herself and overcome any self-doubt.
Repeating their roles from last year, Stephen McIvor and Sonia Gray hosted. Stevens was also on the judging panel (particularly appropriate given his similar role in NZ Idol), alongside motivational speaker and social practitioner Areena Deshpande, director of Head2Heels and former Miss Universe New Zealand director Evana Patterson, AJPR boss and BRCA cancer gene awareness champion Anna Jobsz, and arguably the top make-up practitioner and educator in New Zealand, Samala Robinson.
Thanks to the support of Miss Universe New Zealandâs sponsors, including platinum partners Honda New Zealand, Bench, Skycity, the Quadrant Hotels and Suites, Golden Gowns and Beau Joie, and the fund-raising efforts of each yearâs finalists, Miss Universe New Zealand cracked the $100,000 barrier with its donations to Variety, the Childrenâs Charity, this year.
The stream was carried on Lucire, The New Zealand Herald and Stuff, and a delayed version will appear on 3Now.