When Callil Abdallah established Parisian Neckwear in central Auckland in 1919, he joined a groundswell of small manufacturers making goods in New Zealand rather than importing them from overseas. It wasn't until 1926 that Parisian ties were marketed as being 'made in New Zealand' - at this time locally-made goods were often seen as being of inferior quality. But Callil's understanding of the New Zealand man's preference for 'quiet tones' meant that his ties appealed to the local market.

In the last 100 years, ties have been made in quiet tones and bright colours. They have widened and narrowed, and have been attached to a plastic loop. The tie is a small item of clothing that has no practical purpose. But its decorative appeal has given generations of New Zealand men a way to give expression to their individuality and to communicate their identity through clothing. 'A Decorative Bias' showcases not only 100 years of Parisian ties, but also a century of New Zealand men's fashion.  This exhibition was designed to be portable and flexible, popping up in the windows of tie stockists all over Aotearoa from Auckland to Ashburton. 

Curated by Doris de Pont and Kelly Dix.

Supported by Heart of the City, The Lion Foundation, Waitematā Local Board, Pub Charity Ltd, K Road Business Association, Elizabeth Michael Uniforms, Area Design, Parisian Neckwear.

Garments in the exhibition

Tie decorated with hand-printed horses

Striped tie with textured weave

Pinstripe tie with Pierre Cardin logo

Striped woven wool tie

Jacquard tie with paisley inspired design

Soft cotton printed tie

Tie embroidered with glow in the dark carrots

Tie with abstract geometric design

Anniversary tie

Wide tie with bold print

Green jacquard tie with orange dots

Tie with palm tree scene

Tie with ombre effect

Silk jacquard tie

Narrow tie with stripes

Unlined jacquard weave tie

Brick red tie