After 60 years in business, Australian-owned brand Warwick Fabrics knows just how impactful fabric can be in curating the right interior.

Not only can soft furnishings instantly shape a room’s personality, but it also plays a defining role in design trends — reflecting the popular colour, texture or mood of a specific moment in time.

Warwick started out in Melbourne with a vision to provide velvet for the automotive industry. But after six decades, the family-run brand has grown into a soft furnishing powerhouse servicing Australia and overseas.

Marking the major milestone called for a creative campaign that celebrates the past, while still speaking to the design possibilities of the future.

In ‘Six Decades of Style’, Warwick takes a trip down memory lane in collaboration with Sydney interior stylist Jono Fleming, who created six rooms each loosely inspired by a decade from the 1960s to the 2010s.

‘All the pieces in the campaign came from either re-purposing, re-covering, borrowing, buying or having them custom-made,’ Warwick Fabrics marketing manager Nicole Body says.

Starting with the ’60s, the team drew from the era’s mod-driven colour combinations. Layering energetic striped fabrics like Mallacoota in Melon across vintage-style outdoor furniture from Business & Pleasure Co created a retro poolside scene, inspired by Slim Aarons’ iconic photographs.

Interiors in the 1970s were all about mixing velvets with warm earthy hues like brown, amber, deep green and mustard. To recreate the relaxed look, Warwick Fabrics highlighted textural textiles, including Conway in Bronze and Uluwatu in Terra, styled across Facebook Marketplace finds and a revamped authentic ’70s sofa.

Meanwhile, the ’80s marked a decade full of blushing pastels to bright neon, and bold geometric patterns captured best by the zigzags of Sackville in Amber, as the 1990s introduced a famously more minimalistic energy — pairing pops of animal print with sleek chrome furniture.

In the year 2000, high-impact jewel tones, logo mania, and confident forms of creative expression defined the moment. Warwick’s take on Y2K style sees the return of the modular sofa which adds flexibility in configuration and fabric. Creating a contrasting, colour blocking statement here using Braxton in Sky and Lautner in Rouge on two of the six pieces.

Lastly, the calming interiors from the 2010s are reflected by a soft colour palette and Scandi-inspired styling. The campaign reimagines the decade’s pared-back finishes and its love for blush to create an inviting bedroom, peppered with plush feature cushions in subtle tones such as Copeland in Opal and Como in Blush by Weave Home.

‘Creating our 60th campaign was more than a visual outcome; it was built through the hands, ideas and creativity of the people behind it at every stage,’ Nicole says.

Not only does it reflect just how far the industry and the brand have come in the last 60 years, but it also proves the limitless possibilities of Warwick Fabrics’ range to make a space feel totally distinctive. And that’s something that truly never goes out of style.

Explore Warwick Fabrics full collection online now here.

After purchasing an off-the-plan apartment in a luxury Fitzroy development, interior designer Brahman Perera made an unorthodox choice: to reduce the two-bedroom home to just one.

‘Rather than maximising room count, we prioritised proportion and flow – spaces that could properly hold both daily life and entertaining,’ explains Brahman. ‘We worked closely with [developer] Piccolo and [design studio] Hecker Guthrie to reconfigure the original two-bedroom plan into a one-bedroom apartment with a stronger emphasis on spatial generosity.’

This kind of out of the box thinking exemplifies Brahman’s approach to interior design, which prioritises personal spaces rather than resolved design schemes. ‘I think that’s important,’ he says. ‘Spaces should reflect a life being lived, not just a design idea being executed.’

The decision to reconfigure the floor plan essentially set the tone for the entire apartment. ‘From there, we extended the material palette beyond its original boundaries,’ Brahman says. ‘The green timber veneer “core”, which wraps the bedroom and bathroom, became a kind of internal architecture – almost a room within a room. It introduces depth, but also clarity. It defines space, without relying on walls.’

He adds, ‘We extended finishes across surfaces where they wouldn’t typically go, which creates a more immersive environment. It’s less about feature moments and more about continuity – allowing the space to feel layered without becoming busy.’

The styling features several pieces collected by Brahman over the years, which TDF readers might remember from previous tours. For example, ‘The piano is constant – it moves with us and defines how the space is used. It’s less an object and more a presence,’ Brahman says. ‘The Albero bookcase is another… It has weight and movement, and it shifts the room depending on how it’s used. Those kinds of objects tend to endure.’

He adds, ‘Rather than replacing furniture to suit the space, we adapted the space to better accommodate those pieces. That approach not only reduces cost, but results in something more authentic. There’s less sense of everything being acquired at once, which can often flatten a space.’

The styling is essentially anchored around these pieces. From here, the remaining colour palette unfolded, resulting in a base of mushroom shades layered with pebbled stone benchtops, soft curtains, and a sparing of jewel tones across the rugs, Ligne Roset sofa, and art.

Statement light pendants and lamps add texture, and more importantly, build atmosphere.

The only challenge for Brahman was knowing when to apply restraint! ‘Apartments can quickly become overworked, particularly when you’re trying to compensate for scale,’ he says. ‘It was important to let certain moments remain quiet.’

This apartment has been Brahman’s home away from home or ‘pied-à-terre’. It doesn’t offer the same privacy or serenity as country living, but it comes close, thanks to the generous terrace that overlooks the inner-city Melbourne streets below. ‘It allows you to engage with the street – the movement, the trees, the rhythm of Fitzroy – without being fully exposed. That balance is quite rare.’

Brahman and his partner are spending more and more time at their Macedon Ranges farm, so they’ve decided to say goodbye to this Fitzroy home.

The apartment is now listed for sale with David Ashby from Jellis Craig. 

Collections made from recycled and reclaimed materials are fast becoming the design world’s most compelling frontier.

Furniture that doesn’t just look good, but does good too; materials reworked, surfaces repurposed, and craftsmanship that favours patience over speed.

Enter COMBO, a new collaborative collection by two Australian brands, Reddie and Natural Brick, which leans wholeheartedly into this shift.

‘The collection hopes to serve as a playful, optimistic response to the wasteful and mass-produced nature of the design and architecture industry at large,’ says Cass Siow, Reddie Australian manager.

It’s also proof that sustainability doesn’t have to come at the expense of personality.

COMBO is exactly what the name suggests: a meeting of materials, processes, and ideas. The collection reimagines five of Reddie’s existing designs — Cinta, Rita, Milton, Dora and Suzy — pairing their signature handcrafted frames with terrazzo inserts developed by Natural Brick.

The result is a series of pieces that feel both familiar and entirely new.

Materiality sits at the heart of the range. Reddie’s warm, reclaimed teak frames — complete with nail marks and patchwork details — are offset by galvanised steel and colourful powder-coated finishes.

These act as a grounding structure for Natural Brick’s terrazzo inserts, available in four distinct colourways: Clay, Eucalyptus, Ochre and Plum. Each surface reveals a mosaic of repurposed stone, with organic shapes and tonal variations that make every piece one-of-a-kind.

Importantly, every piece is designed to move seamlessly between indoor and outdoor environments, reinforcing the collection’s emphasis on durability and longevity.

Flexibility is another defining feature. Cass explains, ‘whilst the collection comprises five core designs, each piece is adaptable by way of colour and material, with 360 possible combinations. [Designers and customers] have creative freedom when selecting frame materials and finishes to pair with one of Natural Brick’s four recycled terrazzo colourways.’

But beyond aesthetics, what sets COMBO apart is its process. Each item is handmade and made-to-order.

Reddie and Natural Brick have created a range that pushes the conversation around sustainability forward — not through grand gestures, but through thoughtful, tangible design decisions.

Despite having lived in Orange her whole life, Jumbled founder Pip Brett says she’d never noticed the block of ‘very tired’ 1970s townhouses until they came up for sale a few years ago.

But upon stepping inside the brown-brick apartments — which were already being used as short-stay accommodation — Pip and her husband Nick knew they’d laid eyes on their next project.

‘They had beautiful natural light; north-facing backyards; great bones,’ she says.

‘There was also something about them that reminded me of Melrose Place. I cannot explain why, but it was my very first thought.’

No stranger to an ambitious project, the couple bought all five two-bedroom units in 2023 and got to work turning these neglected homes into Orange’s newest luxury accommodation, Bon Bon.

Now with a fresh white exterior, each apartment features its own distinctive colour palette inside, as designed by Pip and her friend and longtime collaborator architect Felicity Slattery from Studio Esteta.

With a playful name like Bon Bon for the entire complex, there’s no shortage of sweet-inspired tones and bold patterns throughout the interiors. For example, Papi is drenched in pistachio and layered with caramel tones, while Tonka reveals vanilla bean hues across the statement kitchen.

A team of talented tradespeople and creatives were crucial in bringing the project to life. Bonnie and Neil created custom fabric for the beadheads, with upholstery by The Interior Collective, as Brennan and Co also crafted all of the cabinetry and tables.

‘From day one, it felt obvious that each apartment should have its own personality,’ Pip says.

‘Orange is known as the Colour City, so it felt natural that the accommodation reflects that spirit. We are incredibly passionate about where we live, from the food and wine to the shopping, art and nature.’

This eclectic approach did make the construction even more challenging, with Pip admitting she confused herself and Nick (who oversaw the build) more than once.

But the result is like a choose-your-own-adventure, where guests are able to pick what apartment they want to stay in depending on the vibe.

‘It works beautifully for families, couples and groups of friends,’ Pip adds.

‘We have had all five apartments booked out for weddings and family events, which is so special. Everyone can stay together, but still have their own space.

‘Ideally, people come back again and again, and try a different apartment each time.’

Book your stay at Bon Bon now here.

This Parkville house had many problems typical of inner-city Melbourne terraces, except for one feature: it had too much sun.

‘Due to its orientation and flanking neighbouring terraces, natural light to internal and outdoor spaces is largely western. Direct summer light could be at times overbearing,’ says Jack Monte, director of Studio Heck.

This shortcoming was one of the key issues addressed in a recent renovation by Studio Heck, focused on improving the overall liveability of the family home’s ground level.

‘The project scope was never to extend the house and given the limited site area, increasing the footprint would have come at the expense of valuable outdoor space,’ says Jack of the brief. ‘As such, we focused our efforts on making the existing volume work harder rather than expanding it.’

To maximise the 55-square-metre ground floor plan, Studio Heck drew on their experience in hospitality design from their recent projects, including Pendant Public Bar and Esplanade Hotel Inverloch.

Jack explains, ‘In hospitality design we often plan the circulation routes first and then map the seating areas accordingly. This ensures a practical layout where the maximum number of patrons feel comfortable in the space and functionality is maintained.’

Built-in elements such as banquette and bench seating further consolidate functions and free up circulation space, while curvilinear geometries help negotiate misaligned existing conditions, soften transitions, and allow the plan to resolve more fluidly.

With practicalities addressed, Studio Heck turned their attention to the material palette, opting for a largely neutral but textural palette to ensure a light and airy feel for the space, with Artedomus Calacatta Viola as the centrepiece.

‘The viola is a beautiful, timeless calacatta and brings all the design elements of the space together,’ says Jack. ‘We used it vertically as well as on the horizontal surfaces of the kitchen joinery to create a kind of sculptural focal point. It has a presence that holds its ground, but also doesn’t overwhelm.’ Walnut features across the joinery elements including the custom made table and booth seating.

Last but certainly not least was updating the courtyard to shield the house from harsh sun and provide a treasured outdoor space. ‘We tried to include as much garden as possible in an effort to create a little microclimate that could cool the west facing courtyard and the adjacent internal spaces,’ says Jack.

In response, Studio Heck designed a timber trellis for an ornamental grape vine to eventually grow over the space, with Scala travertine crazy paving underfoot that plays with scale to make the compact space feel larger and more dynamic.

Despite being an interior design firm, this garden became Studio Heck’s favourite element of the project. ‘We applied lighting fixtures and joinery ideas as though it was an interior space, so it has the feel of an additional room for the house,’ says Jack. ‘This area was previously very utilitarian and has now become something of a garden sanctuary for the clients.’

Post renovation, the home better accommodates both everyday routines and social gatherings, offering the family owners spaces for connection, rest, and retreat as per Studio Heck’s design philosophy.

Jack adds, ‘Anything we can do to make the lives of our clients a little more joyful keeps us motivated to continue what we do.’

The much anticipated exhibition Ngura Puḻka—Epic Country is now showing at Kamberri/Canberra’s National Gallery, featuring large-scale paintings by First Nations artists from the Aṉangu Pitjantjatjara Yankunytjatjara (APY) Lands.

Ngura Puḻka is the most ambitious artistic project to emerge from the Central Desert to date. Enter the exhibition, and you’ll be immediately struck by the scale of the 30 paintings on display, which dwarf the APY First Nations artists (from Coober Pedy and Tarntanya/Adelaide, South Australia) who created them. Of the 30 works, 29 are three-by-three metres, and the largest is three-by-five. ‘Epic stories, epic scale, epic Country,’ in the words of Tina Baum (Gulumirrgin (Larrakia)/Wardaman/Karajarri peoples), Head Curator, First Nations Art, National Gallery.

Together, these artworks depict expansive Country and celebrate the powerful Tjukurpa (Aṉangu law/cultural stories) that lie within, reinforcing the artists’ deep connection to culture and place. Senior women artists, as Community leaders, describe these major works as representing the ultimate freedom of cultural expression, exploration, and depiction of their Tjukurpa and Ngura.

Yankunytjatjara woman Betty Chimney is one of the exhibited artists, alongside her daughter Raylene. Betty says, translated, ‘It makes me so happy to work with my daughter. We are teaching the next generation about how important our culture is.’

Ngura Puḻka was scheduled to open in 2023 but was postponed for an independent review into the authorship of works. This review validated the authorship of the works, and further independent government reviews were completed in 2025, with no further action being taken.

Sandra Pumani, Yankunytjatjara artist and Chairperson of the APY Art Centre Collective, said, ‘Ngura Puḻka has been a long time coming, but we always knew we would get here because of the strength and resilience of our artists, our artworks, and our culture. We stand by these artworks together as one, and we are proud to share them with Australia.’

As a continuing Community project, the artists have created six new large-scale works since the originally scheduled 2023 show. Also presented alongside Ngura Puḻka is a selection of 13 works by APY artists drawn from the national collection.

Dr Nick Mitzevich, Director, National Gallery says, ‘Ngura Puḻka is one of the most ambitious First Nations community-driven art projects and the National Gallery is proud to stand by the artists and share it with our audience.

Tina adds, ‘I was very fortunate to have travelled across the APY Lands last year and to have heard first-hand the testimonies of artists who were committed to bringing this exhibition to life after much uncertainty. I hope audiences take away from the exhibition the cultural agency and authority of these artists, and of their unbroken and enduring connection to their Country, which they so powerfully depict.’

Ngura Puḻka—Epic Country is presented in partnership with APY Art Centre Collective with the support of Art Centres; Tjala Arts, Mimili Maku Arts, Umoona Arts, Iwantja Arts, Kaltjiti Arts, Collective Art Centre Adelaide, as well as artists from Ernabella and Pipalyatjara.

Ngura Puḻka – Epic Country
April 11 – August 23 2026
National Gallery of Australia
Level 1, Galleries 2–7
Free entry

From the facade, this double-fronted Victorian home in Hawthorn looks just like any other; character and charm sitting quietly on the street.

Walk through to the back of the house, and you’re met with a clever, modern extension that opens out onto a leafy courtyard and pool through large sliding doors and an intimate sunken lounge.

Renovated over two stages and 18 years, this home has been expertly brought up to modern standards by its owners Ian Provan, owner of ProvanBuilt, and his wife Kate, a marketing and media consultant.

The home was originally built in 1880 and was one of the first homes built on the Grace Park Estate. ‘Apparently it was the Doctor’s house,’ Ian adds.

Its proximity to the park — right on its backyard — and the beautiful Victorian front facade, were what drew Ian and Kate to the home in the first place.

‘It’s the ideal location,’ Ian says. ‘Family friendly, close to transport, cafes, wine bars, bike trails, the Yarra, and the CBD.’

The home as it stands today is the result of two major renovations, each marking a different chapter in Ian and Kate’s lives.

The first, nearly 18 years ago, began with a simple sketch from B.E. Architecture on ‘a bit of yellow trace paper’ that helped cement their vision. At the time, they were also building a business — ProvanBuilt — and starting a family, so the process was hands-on and deeply personal.

The second transformation came in 2017, when Molecule Studio designed the addition of a new upper level. By then, the brief had evolved to creating a more layered, flexible home for a growing family.

Materially, the palette balances durability with warmth. Polished concrete floors anchor the main living areas, offset by timber joinery and wall linings that bring softness and texture.

Of course, working with a 100-plus-year-old building came with challenges. Privacy was one — solved through clever screening, skylights, and the selective use of reflective and acoustic glazing.

Integrated joinery is a quiet hero, concealing the realities of family life and allowing spaces to remain calm and uncluttered.

And then there are the views, and the strong connection to the outdoors — not just through the expansive sliding doors, but in the way the garden, designed by Amanda Oliver, is framed from almost every room.

The park beyond the back fence provides a constantly shifting backdrop — morning light filtering through trees, the occasional passerby, the reassuring presence of green space in an otherwise urban setting.

Now, with nothing left to add or refine, the decision by Ian and Kate to sell feels less like an ending and more like a natural progression.

For its next owners, ‘Moira’ offers something increasingly rare: a home that has already done the hard work.

101 Power Street, Hawthorn, is listed for sale with Daniel Bradd and James Tostevin from Marshall White and will go to auction at 11.30am AEST, Saturday May 9, 2026. 

In many heritage renovations, the end goal is often absolute preservation and restoration.

But for Fitzroy North House, Pop Architecture’s clients weren’t interested in creating a direct replica of their Victorian weatherboard’s former glory — most of which was long gone, concealed by piecemeal post-war additions that weren’t suited to the site or climate.

‘The brief was simple: a sustainable, flexible home that felt calm, light, and comfortable year-round,’ Pop Architecture director Katherine Sainsbery says.

‘They prioritised quality of light, thermal performance, and connection to landscape, all within a modest footprint and sensible budget.’

This doesn’t mean heritage wasn’t an important consideration. In fact, since the owners had lived in Melbourne’s inner north for many years, they wanted their family home to speak even deeper to the diverse history of the suburb.

While the Victorian facade was carefully reinstated, the rest of the building was completely reworked. The three distinct forms — made up of the original house, a new extension, and a free-standing retreat at the rear — are each characterised by exaggerated corrugated zinc planes and inverted rooflines that maximise northern sunlight and solar panel efficiency.

A new side entry with a ‘genkan’ (a Japanese-style entry space) was also introduced, marking the threshold between the existing bedrooms at the front of the house and the new open-plan living zone.

‘The design acknowledges the layered history of the site; its foundations on unceded Wurundjeri land, colonial occupation, and post‑war migration. The project avoids nostalgic replication, instead proposing a more site and climate‑specific response,’ Katherine explains.

In addition to selecting robust materials that would age honestly over time, the palette was heavily driven by the setting.

Off-whites, greys, greens, and warm timbers reference the changing bark of a native yellow gum tree, as terrazzo and decorative wrought iron introduce subtle historical references.

Bagged recycled bricks, corrugated zinc and galvanised steel ensure the project’s reduced embodied carbon, while all-electric appliances, rainwater collection from the large eaves, and operable shading also help with energy efficiency.

Katherine says the biggest challenge was navigating the home’s heritage requirements, while still creating something meaningful that performed like a brand-new build.

‘The council’s heritage overlay dictated what stayed, but not how it could evolve,’ she notes.

‘We’re proud that it broadens the notion of “heritage,” embedding cultural and environmental awareness within a modest, everyday home.’

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The ‘Cake House’, as it’s nicknamed, has long been beloved by many Mollymook locals for its unique slice-like shape and position on the beach.

At the same time, the original home was weathered, and its planning arrangement lacked connection with its stunning surroundings.

Alexander Symes Architect (AMA) recognised the merits of the original house from the outset when engaged to ensure the home’s longevity and ability to host large groups.

‘The unique shape of the house has served as a sentinel for surfers,’ says AMA director Alexander Symes. ‘The alteration worked to embrace the iconic shape of the house whilst improving the connection to the ocean.’

Indeed, AMA’s extensive renovations and additions have improved the house inside and out, addressing multiple issues in the home’s floor plan and environmental performance.

The celebration of the existing building was paramount to the project, calling for reuse of as much of the building structure and materials as possible, and maintaining the building’s beach-facing shape.

‘The existing dwelling siting to the road was maintained and was setback from the beach view. We wanted to maintain the coastal vernacular and maintain the existing view corridors from across the street and adjacent sites, explains Alexander.

‘The response was to design the additions to the rear so as not to be seen from the street. The design takes inspiration from the original building form, while enhancing the connection to the surrounding outdoor environment.’

Original hardwood floors and aluminium cladding were thoughtfully detailed as part of the concrete formwork paired with recycled Australian hardwood cladding – the new icing on the original cake house. The existing roof shape was also sharpened with a metal point and gold leaf soffit, which reflects morning light into the house.

Inside, again to preserve its iconic shape, AMA remodelled the internal spaces within the existing footprint of the existing house, resulting in four bedrooms and three bathrooms that can flexibly house up to 17 people, with the new communal spaces on the first floor beyond.

‘Many of the existing walls remained in place with the new program, and the additional bedrooms are tucked underneath the outdoor terrace,’ says Alexander. ‘Coupled with the eastern facing glazing, the terrace provides various opportunities to visually and physically connect the external environment, which was limited in the existing house.’

The living spaces can now open to avail of the sea breezes and sounds and extend into the large deck, spilling into the garden.

AMA’s design has future-proofed the home, better ensuring it can withstand climate change and sea level rises. A berm has been incorporated into the landscape design to assist in deflecting sea surges, and the ground floor level has been constructed in concrete to withstand significant water inundation.

While the resulting embodied energy of Cake House is higher compared to other recent AMA projects, mostly due to the concrete, this was offset by additional features, including recycled materials, solar power, a battery, and a 30,000 in-ground water tank, and heat recovery ventilation system. The physical and natural landscape was also retained where possible, including the driveway, fences, topsoil, and endemic landscape species such as banksias.

Life cycle analysis results show that as well as being net zero in operation use, the project is carbon negative across its predicted 55 year lifespan.

AMA’s alterations and additions have overall dramatically improved how the house performs and practically functions, which is best experienced at dawn.

‘Being able to arrive at the completed house in the early hours and see the sunrise through the centre of the building – the pink morning light reflecting off the pointed gold leaf soffit and running down the central brass channel – was a particularly special moment. To have material and light interplay the way it was intended has become my favourite moment of the space,’ says Alexander.

‘The clients’ positivity towards the unique and unexpected surface finish [especially in the reused existing aluminium cladding downstairs], and the builders’ meticulous execution, showed a combined passion and dedication to celebrating refused materials in construction. It has been very memorable to work together with such an aligned and open-minded team.’

The house is a private holiday home that is rented out as accommodation when not in use.

Pharmacist-turned-business owner Tammy Baird opened The Drill Hall Emporium in New Norfolk about 20 years ago.

Fast forward to today, she and her sister Donna now not only sell antiques out of the former army training hall, but they’re also the brains behind one-of-a-kind stationery store Flywheel and homewares boutique Miss Arthur.

Having lived in the area since the age of 10, Tammy knows better than most what really makes Tasmania’s south a place where time slows for tourists and locals alike. Find all her recommendations below!

DO

The Drill Hall Emporium

From antique furniture to paintings sourced from France, Tammy’s store, The Drill Hall Emporium, is filled with pieces that tell a story. ‘Visitors can expect an ever-changing collection of antique furniture with a strong focus on practicality and liveability, complemented by a thoughtful mix of vintage and antique wares,’ Tammy says.

Miss Arthur

Miss Arthur is a much-loved destination for both locals and visitors alike. The home goods store is centred around unfussy, traditionally made wares, including many hand-crafted objects, including French linen tea towels, locally made pottery and Japanese cookware — just to name a few.

Flywheel

Tammy and Donna opened their boutique stationery store Flywheel about 13 years ago, inspired by their younger sister Rachel’s passion for letterpress printing. Inside, you’ll find a 1920s press, alongside supplies for calligraphy, stamps, journals, paper crafts, and even puzzles or playing games. Talk about a crafting wonderland!

Black Swan Bookshop

‘The Black Swan Bookshop is truly everything you want from your local bookstore,’ Tammy says. This light-filled, independent bookshop in New Norfolk doubles as a cafe, so customers can enjoy coffees and cakes while browsing the beautiful collections, making it a must-visit.

Phoenix Creations

Phoenix Creations founder and artist David Rauenbusch makes beautiful, hand-carved wooden spoons in his workshop in Cygnet, using sustainable or recycled Tasmanian timbers, including Huon Pine, Myrtle, Sassafras, and Blackwood. Tammy recommends stopping by to shop his creations, or booking in for a spoon-carving workshop to try your hand at making one yourself. Not only is it a memorable and fun activity, but you’ll also leave with a sentimental memento.

Kuuma Nature Sauna

Located just 20 minutes south of Hobart at Margate Marina, Kuuma Nature Sauna is Australia’s first mobile sauna boat that offers an invigorating experience unique only to Tasmania. The floating pontoon features a beautifully fitted wood-fired sauna, so you can relax, unwind, or dive right into the waters of a secluded bay surrounded by wilderness. And this winter, you can book a special cruise for after dark, to see the sunrise, or visit on Friday nights for their cosy Sauna Stories sessions.

EAT

The Agrarian Kitchen Garden

While The Agrarian Kitchen in New Norfolk is known for its award-winning restaurant and cooking school, Tammy says the venue’s garden tour is truly a hidden gem! ‘A guided tour takes you around the impressive walled garden, which grows most of the produce needed for the restaurant, kiosk and cooking school. In just an hour, you’ll learn about no-dig gardening, composting, berry growing, and greenhouse production — leaving inspired to try it all at home.’ Plus, keep an eye out for special menu items only offered in the Off Season, like the mouth-watering truffle-y toastie or make your own fireside s’mores!

Derwent Estate Wines

Derwent Estate is a family-owned and operated wine business in Granton, about 20 minutes north of Hobart. Built in 1820 by the convicts, the cellar door overlooks the River Derwent and offers tasting experiences of their cool-climate wines, complete with a cheese board. Or, head there for lunch at The Shed Restaurant to enjoy the stunning scenery and locally sourced produce paired with their award-winning wines.

Scholé

Scholé is one of Hobart’s best wine bars and restaurants, where Japanese influences meet an ever-changing seasonal menu. The intimate setting is the perfect place for dinner and a drink after a day exploring the city. And if you’re there on a Tuesday, the space transforms into a Japanese-style standing bar with snacks and drinks, emulating Tokyo’s electric Izakaya culture.

Trophy Room

Tammy’s top pick for a ‘special, yet unfussy’ weekday lunch with friends is at Trophy Room in North Hobart. ‘The seasonal offerings are yet to disappoint, with warm service and local wines to top it all off,’ she says.

STAY

Lumière Lodge

Lumière Lodge is a Victorian cottage tucked away in a quiet pocket of historic Hobart that’s been reimagined as an enchanting guesthouse. Tammy says it’s clear owners Kerran and Sam spared no detail in bringing the beautiful accommodation to life. Inside, there are three bedrooms, soaring heritage ceilings, antique windows, and colourful interiors, while an old charming fireplace makes any chilly Hobart nights utterly delightful!

Got a taste for Hobart and the south? There’s more to dig into. Discover Tasmania has the experiences, restaurants, events and local tips you didn’t know you needed. If you’re craving a regular dose of trip-planning intel, subscribe to their newsletter.