Cuisine Magazine

Delivering knowledge of our food as a nation, Cuisine continues to be a voice of authority on the future of food, heritage, sustainability, industry and innovation; and, of course, the food we prepare in our homes. The magazine continues to celebrate the success of these endeavours in both its long-form features and recipes. This new cover direction best represents this content.

The plate is nothing without the food we put on it. A bold elegant statement executed through beautiful still life photography, styling and typography that declares the food ‘simply the best’. This new direction moves away from a plate of food to showcase a beautiful raw ingredient. After all, while New Zealand / Aotearoa is the home of incredible food produce it’s our land and our people where all good food starts. 

This is not only a bold point of difference from other food titles on the market, these covers both nod to the magazine’s origins while being future-forward.

Concept & art direction / Fiona Lascelles
Photography / Aaron McLean
Tomatoes food styling / Fiona Smith
Seafood food styling / Ben Bayly
Cauliflower food styling / Fiona Smith
Published / Cuisine Magazine

Taking the humble to the extraordinary, this still life opened a food feature on eggs in Cuisine. Referencing the still-life abstractions of ordinary objects that American photographer, Paul Outerbridge, created during the late 1920s, this story elevates a single ingredient to an artful outcome.

THE BACK STORY In 1921, following his military service in the US Army, Paul enrolled in the Clarence H. White school of photography at Columbia University. Within a year his work was published by magazines including Vanity Fair and Vogue.

While evoking the formalism of Surrealism, the still lifes also evoke the essence of Precisionism (also known as Cubist Realism). Through Precisionism, an object is rendered in a realistic manner, but its geometric form is emphasised. An important part of American Modernism, it was inspired by the development of Cubism in Europe, and by the rapid growth of industrialisation of North America in the wake of innovators such as Henry Ford.

One of the most famous examples is 1922’s ‘Ide Collar.’. The detachable shirt collar was photographed on a checkerboard and used in an advert for Vanity Fair magazine. As the story goes, when French surrealist Marcel Duchamp saw it, he ripped it out of the magazine and tacked to his studio wall. It was still there when he met Outerbridge three years later.

Concept, styling & art direction / Fiona Lascelles
Still life photography / Tony Nyberg
Food photography / Aaron McLean
Published / Cuisine Magazine

We have all seen the smokey barbecue images, glowing embers, grilled meats, the backyard setup with friends. I wanted something different. This is always the challenge with food photography, food photos are everywhere so I am always looking for another approach.

Evoking the sensory experience of the movement of smoke through the typographic treatment combined with the graphic black and white cross-cut patterns of wood as platters to place food is a graphic and unexpected solution to the ubiquitous New Zealand pastime of the barbecue.

Concept, styling & art direction / Fiona Lascelles
Photography / Aaron McLean
Food styling & recipes / Ginny Grant
Published / Cuisine Magazine

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