Anything But Uniform: Bob Mackintosh on Air NZ’s Wānaka Shoot
When Air New Zealand set out to reveal its new uniform, they knew the campaign needed to be more than beautiful — it had to feel grounded, iconic, and unmistakably Aotearoa. For Creative Director Bob Mackintosh of Montoya that meant heading south to Wānaka.
In this Q&A, Bob shares what made the shoot stand out — and just some of the reasons why more and more brands are choosing this region to bring their creative visions to life.
Bob, you’ve shot all over Aotearoa, what felt special or resonant about bringing the Air New Zealand uniform campaign to life here in Wānaka?
The uniform project in itself is a very unique one — it only happens every decade or so. So we knew we needed to create something that felt suitably special. Something elevated from the everyday that allowed the storytelling and meaning in the uniform (designed by Emilia Wickstead) to shine through. It also needed to be something enduring and iconic.
And, given it’s for a national carrier, it needed to feel uniquely Kiwi, to both a local and a global audience. For the audience at home it needed to feel relatable and real. And for an audience overseas we wanted something that felt unique, otherworldly, exotic.
I’m also a believer that when a production feels special, this translates to the output. I feel that to be true of this campaign. The shoot was indeed special: great people, perfect weather, an incredible setting. You can feel it in the shots taken by Derek Henderson (stills) and location production company The Beards (video). There was an energy and atmosphere that was unique that people feel a part of when they view the content.
There were a lot of criteria — but ‘something special was high on the list. And in that department Wānaka delivered big time.
What was the original creative or strategic vision behind the campaign, and how did that play out on the ground?
The idea was simple but powerful, leaning into the line ‘Anything but uniform’ — a nod to a distinct, proudly Kiwi design. The uniform itself weaves together the diverse cultural heritage from Aotearoa – Māori, Pacific, and European into something uniquely its own. The campaign needed to honour that, and do it differently.
The connection between people and the land became a core theme. The uniform’s custom print, hand-painted by tā moko artist Te Rangitu Netana, tells a visual pepeha. So it made sense for the location to echo that depth.
Wānaka was chosen not just for its beauty, but its atmosphere—and the late summer light sealed the deal. The uniform featured violet tones, so we wanted landscapes that would make them sing. Long golden grasses, warm light… it just worked.
Composition mattered too—framing talent with mountains, using water as a recurring motif, and letting the colours guide the match between garment and setting. “Some pieces, like the ie faitaga (lava lava), are usually seen in tropical settings. But putting them against a dramatic mountain valley brought a sense of mana that really came through.”
The result? A campaign grounded in culture, elevated by design, and deeply connected to the whenua that helped bring it all to life.
Most airline campaigns line people up on a tarmac. We knew we couldn’t do that, this was about place, symbolism, and pride.
Lake Hāwea Station is an extraordinary location — what tipped it over the line for this particular project?
First and foremost it’s a stunning location. The views are second to none. As a working high country station, there’s also a realness to it — we didn’t want anything too picture-perfect. Plus it was private — a huge consideration.
From a photographic point of view, we adopted a fashion editorial approach. For me that means finding a ‘world’ within which the talent and photographer can play. This requires a leap of faith from the client (which Air New Zealand were willing to trust us on!) but it results in better, more surprising work.
The day before we shot, Derek and I scoped out the various locations and simply found areas that made for a good shot — taking into account garment, colour, talent etc.
From your perspective how did the natural light, textures, and landscape inform the overall visual style?
Given the uniform itself draws so much on natural elements, the natural environment in the location played a key role.
Lake Hawea Station had it all: deep valleys with deeper colours (greens, blacks) through to hills with long golden grass, then expansive backdrops with water and the mountains behind. All quite varied — but it all hung together beautifully when put together.
Being elevated also gave us favourable time with light, which at times was hanging a little lower. Soft cloud cover gave everything a subtle glow. Nothing too harsh, which was perfect.
Can you walk us through the scale of the shoot — how many days were you on location, and what kind of crew did it take to pull this off?
It was a two-day shoot with early starts and late finishes to catch the best light. We partnered with The Beards in Wānaka to manage production — covering both stills (shot by Derek Henderson) and video (shot by The Beards).
The Wānaka shoot formed part of a broader documentary about the project, which was also filmed in London, Bristol, and Auckland. We also captured drone footage for the Auckland launch event and editorial use, plus some playful social content using a tiny FOV drone.
So yes — lots of cameras, and a lot of people (around 50–60, including talent).
My role was to set the vision and then trust the incredible team on the ground — people who know exactly how to bring it to life through the lens. I think we achieved this.
Were there local creatives, contractors, or fixers who were part of your team? How important is that local knowledge?
We couldn’t have done this without The Beards and their local crew. Their knowledge of the area — and how to translate the vision or idea into practicalities is second to none. Plus the whole team was brilliant and a lot of fun to work with!
You’ve worked in plenty of places — what’s your take on how Wānaka and the infrastructure stack up for shoots like this?
Given the history of filmmaking in the region it’s very well kitted out for this. People know their way around a production, and apply a no-nonsense and practical approach to creating the magic. In my experience working here, no problem is too hard — despite some curly requests over the years everything has been pulled off with a smile!
In plain terms: what makes Wānaka a great place to get creative work done?
Two things.
One – the specialness of the natural environment here makes you feel like you’re making something beautiful. This makes it fun and memorable for all. And as mentioned, I think this translates to the output.
Two – the people here that can make big things happen. It is, at the end of the day, a mountainous region. With that comes a few challenges, however there are experienced people on the ground to make things happen.
For other brands, creative directors or producers considering Wānaka — what would you say to get them over the line?
Do it! You won’t regret it. And I can guarantee you’ll make some friends in the process.
