THE EDIT N 10
Spring / Summer ’18
s / s 2 018
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CONTENTS tre nds brights
16. 24.
4.
T R E ND second nature BE AU T Y green light
fa shio n
31. P OS T C A R D S
understated organic shades
58. FE AT U R E 63. T HE
billie zangewa
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T REN D set the tone 12. T REN D night and day
T REN D parisian nights
A LL C LOTH I NG , GU CC I
THE EDIT N 10 Spring / Summer ’18
s / s 2 018
28.
news
22.
48. FEAT URE
luxury threads for cool kids
40. C L ASSIC
76.
NUDES
prince gyasi
62. ST OC K ISTS
be a ut y
70. IN T ERV IEW chanel’s lucia pica 72. FEATURE
age-defying treatments
crayola
BEAUTY fragrance
56. FEAT URE
south african fashion week
14. TREND
T REN D seven things
FRO M T HE RIV IERA f loral, fruit, and botanical prints
60. R E T RO SPECT IV E
E D I TOR I A L
20. B EAUT Y
M EET T HE M O DEL maria borges
N E W NE ON this season’s statement look
74. F E AT U R E
N 10
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T R E ND object of desire
new age beauty
A LIFE ILLUST RAT ED rochelle nembhard
EDITOR Sharon Becker sharonb@tisoblackstar.co.za CREATIVE DIRECTOR Anna Lineveldt MANAGING EDITOR Matthew McClure SENIOR DESIGNER Thembekile Vokwana JUNIOR DESIGNER Athi Conjwa CHIEF SUBEDITOR Theresa Mallinson SUBEDITOR Joey Kok BEAUTY EDITOR Nokubonga Thusi LIVING EDITOR Leana Schoeman FEATURES WRITER Nothemba Mkhondo FASHION ASSISTANTS Sahil Harilal and Keneilwe Pule FASHION INTERN Angelique Crinall DESIGN INTERN Refiloe Pholo FINAL EYES Karin Mosselson, Elizabeth Sleith, and Lynda Stephenson PUBLISHER Aspasia Karras GROUP GENERAL MANAGER: SALES AND MARKETING Reardon Sanderson MANAGING DIRECTOR Andrew Gill ADVERTISING BUSINESS MANAGER Yvonne Shaff shaffy@tisoblackstar.co.za 082 903 5641 ACCOUNT MANAGERS Letitia Louw (Johannesburg) louwl@tisoblackstar.co.za 083 454 1137; Samantha Pienaar (Cape Town) pienaars@tisoblackstar.co.za 082 889 0366; Gina van de Wall (Durban) vdwallg@tisoblackstar.co.za, 083 500 5325 ADVERTISING CO-ORDINATOR Jamie Kinnear PRINTING Paarl Media Gauteng PUBLISHERS Tiso Blackstar Group, 16 Empire Road (cnr of Empire and Hillside roads), Parktown, Johannesburg, 2193 © Copyright Tiso Blackstar Group. No portion of this magazine may be reproduced in any form without written consent of the publishers. The publishers are not responsible for unsolicited material. The Edit is published by Tiso Blackstar Group. The opinions expressed are not necessarily those of Tiso Blackstar Group. All advertisements, advertorials, and promotions have been paid for, and therefore do not carry any endorsement by the publishers.
TRENDS
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PHOTOGRAPHY JUDD VAN RENSBURG PRODUCTION NOKUBONGA THUSI
Semi-transparent rubber Sicily handbags, R19 000 each, Dolce & Gabbana
advertorial
D
THE MORE H AT E YO U WEAR,THE LESS YOU CARE
T-SHIRT, R1 399
H AT E
iesel takes a stand against online abuse in its new Haute Couture campaign. We have all been victims of negativity and criticism on social media, even a brand such as Diesel. For this campaign, Diesel has launched a unique collection designed to disempower hate. The brand took some of the criticism it received — such as “Diesel is dead” and “Diesel is not cool anymore” — and displayed these words with pride, at the same time using them to create unique garments. Diesel has partnered with celebrities, such as Nicky Minaj, Bella Thorne, and Gucci Mane, who have found themselves the target of online abuse. Each celebrity chose some of the worst comments they have ever received and had exclusive Haute Couture items that included the words designed for them.
T-SHIRT, R1 399
For example, Nicki Minaj was dubbed “The Bad Guy.” Gucci Mane was told “F**k You, Imposter.” Bella Thorne was named a “Slut.” All of these comments now adorn limited-edition garments in the Haute Couture collection, available from October 15 in selected Diesel stores. Check out the Haute Couture campaign video on YouTube: https://youtu.be/lUJtUojXY1k
T-SHIRT R1 399
DENIM JACKET R9 999
trend COMPI LE D BY Sahi l Hari lal
Set the tone
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1. S H I RT, R 1 100, P R I NGLE OF S COT LAND 2. NE CK S CAR F, R 399, COUNT R Y R OAD 3. B LAZ E R , R 1 399, M ANGO 4. S UNGLAS S E S , R 599, P R I V E R E VAUX 5. H E E LS , R 799, CH AR LE S & KE I T H 6. B AG, R 1 149, CH AR LE S & KE I T H 7. T R OUS E R S , R 629, H &M 8. T R OUS E R S , R 449, M ANGO 9. S NE AKE R S , R 2 299, P UM A 10. LONGI NE S DOLCE V I TA WATCH , R 43 000, ART H UR KAP LAN JE W E LLE R S 11. JACKET, R2 950, PRINGLE OF SCOTLAND 12. CR OS S B ODY B AG, R 16 700, GUCCI 13. B R OGUE S , R 16 700, GUCCI 14. S H I RT, R 699, T R E NE R Y 15. B E LT, R 599, PRINGLE OF SCOTLAND 16. TROUSERS, R999, T R E NE R Y
IMAGES ULRICH KNOBLAUCH AND SUPPLIED
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Phillip Lim’s wardrobe of soft summer suiting and lightweight, easy-to-wear layers are a breath of fresh air, with a splash of delectable, understated mango, lime, and cotton-candy hues
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Night and day
Givenchy proves that soft leather, classic checks, and touches of rich emerald hues are the perfect sartorial match, come day or night
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IMAGES ULRICH KNOBLAUCH AND SUPPLIED
1. E M P OR I O AR M ANI S UNGLAS S E S , R 1 999, M AT & MAY 2. B E LT B AG, R 699, COUNT R Y R OAD 3. T R OUS E R S , R 4 299, DI E S E L 4. LE AT H E R JACKE T, R 10 999, DI E S E L 5. ST I LE T TOS , R 5 599, DI E S E L 6. S H I RT, R 3 699, DI E S E L 7. B AG, R 999, E DGAR S 8. S KI RT, R 3 299, T R E NE R Y 9. W I TCH E R Y B LAZ E R , R 2 199, W OOLW ORT H S 10. WAV E B AG, R 27 000, LOUI S V UI T TON 11. OBI BELT, R699, COUNTRY ROAD 12. GLAM OUR DAT E WATCH , R 40 500, T UDOR 13. B OOT S , R 999, CHARLES & KEITH 14. SCARF, R399, COUNT R Y R OAD
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Crayola brights
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1. T R OUS E R S , R 2 399, S COTCH & S ODA 2. B AG, R 1 249, CH AR LE S & KE I T H 3. KNI T TOP, R 3 299, DI E S E L 4. P UF F E R JACKE T, R 2 599, S UP E R DR Y 5. LONGI NE S LE GE ND DI V E R WATCH , R 35 000, ART H UR KAP LAN JE W E LLE R S 6. PAR KA, R 629, H &M 7. B OOT S , R 4 999, DI E S E L 8. B OOT S , R1 649, PALLADIUM 9. DENIM JACKE T, R 19 999, DI E S E L 10. SWIMSUIT, FROM R399, WOOLWORTHS 11. B AG, R 7 999, DI E S E L 12. S UP E R BY R E T R OS UP E R F UT UR E S UNGLAS S E S , R 3 899, MOSCON OPTICS 13. SNEAKERS, FROM R17 000, DOLCE & GABBANA 14. S KI RT, R 2 400, T E D B AKE R
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IMAGES ULRICH KNOBLAUCH AND SUPPLIED
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Maison Margiela makes a case for colouring outside of the lines by getting creative with statement bright shades, quirky prints, and unexpected holographic and metallic fabrication
Elegance is an attitude Kate Winslet
Record collection
trend COMPI LE D BY Sahi l Hari lal
Second nature
Victoria Beckham crafts an effortless collection of enviable silhouettes in a colour palette of earthy, stone-washed taupe, ivory, and barely-there blush shades 16
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IMAGES ULRICH KNOBLAUCH AND SUPPLIED
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1. T-S H I RT, R 150, COT TON ON 2. T-S H I RT, R 329, H &M 3. W I TCH E R Y TANK TOP, R 899, W OOLW ORT H S , 4 R AY-B AN S UNGLAS S E S , R 2 099, M AT & M AY 5. H OOP E AR R I NGS , R 2 599, AM E R I CAN S W I S S 6. W I TCH E R Y B AG, R 659, W OOLW ORT H S 7. H E E LS , R 849, CH AR LE S & KE I T H 8. W I TCH E R Y S KI RT, R 899, W OOLW ORT H S 9. H E R I TAGE ADV I S OR WATCH , R 84 000, T UDOR 10. W I TCH E R Y S H ORT S , R 699, W OOLW ORT H S 11. BOOTS, R1 799, PALLADIUM 12. WALLE T, R 290, COLE T T E BY COLE T T E H AYM AN 13. JUM P S UI T, R 1 099, H &M 14. KNI T TOP, R 2 180, T E D B AKE R 15. B E LT, R 199, M AT & M AY
trend COMPI LE D BY Sahi l Hari lal
Parisian nights
Isabel Marant elevates feminine silhouettes with decadent embroidered and metallic fabric, and ’80s-inspired cinched waists and bold shoulders
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IMAGES ULRICH KNOBLAUCH AND SUPPLIED
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1. W I TCH E R Y E AR R I NGS , R 409, W OOLW ORT H S 2. B LOUS E , R 899, F OR E V E R NE W 3. P OLAR OI D S UNGLAS S E S , R 2 099, M AT & MAY 4. B OOT S , R 849, CH AR LE S & KE I T H 5. DR E S S ,R 2 750, P R I NGLE OF S COT LAND 6. CR OS S B ODY B AG, R 42 400, GUCCI 7. P E NDANT, R 25 999, AM E R I CAN S W I S S 8. B LACK B AY 41 WATCH , R 48 000, T UDOR 9. P OLO NE CK, R 429, H &M 10. W I TCH E R Y JE ANS , R 899, W OOLW ORT H S 11. BELT, R699, PRINGLE OF SCOTLAND 12. M ULE S , R 11 800, GUCCI 13. W I TCH E R Y E AR R I NGS , R 399, W OOLW ORT H S 14. TOT E B AG, R 1 999, COUNT R Y R OAD 15. S KI RT, R 999, COUNT R Y R OAD
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AVAILABLE AT CANAL WALK FOR STOCKISTS CALL: 011 444 2270
beauty TE X T Nokubonga Thusi
BLUMARI N E
f you loved the combination of peony and jasmine notes in the first Kenzo World scent, then you’ll be delighted that perfumers Francis Kurkdjian and Maïa Lernout didn’t try to fix what wasn’t broken. The new addition to the pillar, Kenzo World Intense, shares the same floral heart as its predecessor, with a top note of black plum and base note of vanilla. This edition is more of a gourmet scent that’s not too sweet, and is housed in a deep-blue, eye-motif-shaped bottle. Kenzo World Intense EDP, 75ml, R1 660
ALL EYES ON KENZO
ALL ABOUT ROUGE This tangerine-red bottle is certainly striking, but the scent is also worth your attention. It keeps to the Narciso signature note of musk, but adds floral notes of Bulgarian rose, tuberose, and a hint of intoxicating vanilla at the base. Narciso Rodriguez Narciso Rouge EDP, 90ml, R1 915
These limited-edition makeup collections are dictating a look that steers away from the delicate rosy palette we’re used to for Spring.
Dior en Diable Who says deep, warm colours are reserved for winter — certainly not Dior. With shade names such as “Red Lava”, “Sulphurous”, and “Devilish”, take the unconventional
W
BEAUTY BUZZ: L’OCCITANE IMMORTELLE RESET
THE NAIL LACQUER IN 606 MANDARINO R440
Having a moment: limitededition collections
M I S S S I C I LY L I P ST I C K I N 1 3 0 G A E TA N A , R 6 4 5
ROUGE DIOR LIQUID IN 635 COPPER LAVA, R615
ON THE EDITOR’S SHELF
DIOR VERNIS IN 531 H O T, R 4 5 0
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larins definitely got the memo (the brand may have even written it) when it comes to the perfect foundation for Spring, with the launch of Skin Illusion foundation. Its lightweight, liquid formula seems to seep into the skin like water as it hydrates, creating a velvety, buildable coverage. Say hello to warmer weather and easy, feather-light coverage with just a few drops dispensed from the dropper applicator. Clarins Skin Illusion Natural Hydrating Foundation SPF 15, R515
ROUGE DIOR IN 995 DARK DEVIL, R615
C
shades, vanillacoated f loral scents & instant skin glow: our favourite spring/ summer additions are ahead of the beauty pack
D I O R S H O W O N S T A G E L I N E R I N 8 8 6 M A T T E B U R G U N D Y, R 5 6 5
Beauty News Lava-like
route with this collection’s curation of unexpected blackened-cherry lipsticks alongside punchy reds and shimmery, molten oranges. Dolce & Gabbana Italian Zest Look as if you
ith the new season fast approaching, we want our glow to reappear just as quickly. Use this oil-in-serum formula, which contains Immortelle essential oil, to leave skin more hydrated, luminous, and softer from the moment it’s applied. L’Occitane Immortelle Reset Overnight Serum, R990
walked straight off the Amalfi coast with Dolce & Gabbana’s Italian Zest makeup collection that is pure resort. Tap the creamy bronzer stick onto the high planes of the face with the
fingertips or swipe on the vibrant, balmy eyeshadows and lipsticks for sheer, melted-in colour — we have our eyes on the daring, yellow lipstick, Gaetana.
PHOTOGRAPHY JESSICA SEGAL AND SUPPLIED
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fragrance
PR ODUCTI ON Nokubonga Thusi
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PH OTOGR APH Y Judd van Rensburg
VERSACE YELLOW D I A M O N D E DT, 50ML, R1 130
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Sparkling zest
3 WOMEN’S SECRET EAU MY DELICE E DT, 1 0 0 M L , R 3 9 9
4 LES EAUX DE CHANEL PA R I S -V E N I S E E DT, 1 2 5 M L , R2 070
PHOTOGRAPHER’S ASSISTANT MASIXOLE NCEVU
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trend
VAL E N TI N O
CH AN E L
TE X T Nokubonga Thusi
Green light
From Valentino to Chanel, shades of green, saturated across eyes, are popping up on the spring/summer ’18 runways. Choose your pick of the jewelled hue, whether it’s a deep emerald or acidic neon
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In a year when beauty trends are all operating under the common theme of “go bold colour or go home”, the runways have been serving up an array of vivid colours washed across eyes. Blue is leading the pack and zesty, sunset shades of yellow, red, and orange are having their time in the spotlight too. But this season, there’s also been another colour making brief but memorable appearances on the runways of Valentino and Chanel. Green is the surprising colour that you should consider adding to your beauty arsenal. It is quickly
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becoming the hue du jour for all skin tones, and we simply can’t take our eyes off it — we may even dream about it sometimes. It’s both demure and striking, and can be worn as a shimmery slither of colour hugging the lash line to complement a fresh, dewy skin, or amped up to glossy heights painted over the whole eyelid and finished off with a dabbing of clear gloss.
IMAGES CHANEL: GETTY IMAGES/DOMINIQUE CHARRIAU/WIREIMAGE, VALENTINO: GALLO/GETTY IMAGES/PASCAL LE SEGRETAIN, AND SUPPLIED
T H E S H O W S : Valentino, Chanel T H E T R E N D : Emerald-coated lids T H E I N S P I R AT I O N :
interview
TE X T Nothemba M khondo
PH OTOGR APH Y Antoni o de M oraes Barros F i lho
S
he’s graced the runway for the likes of Givenchy, Tom Ford, Balmain, and Christian Dior. Maria Borges, the Angolan supermodel who counts Ricardo Tisci as a mentor and “godfather”, is more than a pretty face and fierce, long-legged walk. The first time Givenchy took me as an exclusive was one of my most memorable moments. Some of my favourites were shows for Givenchy, Christian Dior, opening Armani, and closing for Versace. I was always the tallest girl in school, and my classmates called me the “Giraffe”, so when an opportunity came to be in a contest I tried. I was in a modelling contest in Angola and came in second place. Someone from a small local modelling agency saw me and thought they could help me become a model even though I did not win. I worked very hard to learn how to do things correctly and then I moved to Portugal and then New York. I love modelling because it means wearing fabulous clothes and being able to travel to wear them. When I am not busy modelling, I love walking through museums, looking at art and ideas. I still like the gym, even though I also do that for work. Most important is having time to spend with friends. Even if I weren’t a model, I would still want to help children in my country, and Africa as a whole, to rise. That means being prepared for school and learning everything you can. I love to wear dresses, especially short ones that show off my legs. I don’t like trousers. As a L’Oréal ambassador, I have and use every product from L’Oréal — from skin to hair, everything! I am also glad to know they are cruelty-free products. My favourite cities are New York and Paris. New York because it is fast, furious, and has lots of different people; Paris because it is the city of love! My favourite hotel is my home. The best of everything is at home.
ME E T T HE MOD E L
Maria Borges
Supermodel Maria Borges, the new face of Woolworths’ Edition, is conquering the fashion world, one runway show and campaign at a time
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1 EDITION DRESS, R350, WOOLWORTHS
2 L’ O R É A L P U R E CLAY DETOX MASK, R160
3 L’ O R É A L P U R E CLAY BLEMISH RESCUE MASK, R160
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L’ O R É A L P U R E CLAY PURITY MASK, R160
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PHOTOGRAPHY GALLO/ GETTY
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LOVE UP TO 50% OFF SELECTED ROCKS
Come in store to be inspired or explore the full catalogue & reserve online. www.americanswiss.co.za
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Elegance, tradition, and performance are three words that are synonymous with a Longines timepiece. La Grande Classique de Longines has launched a new version in blue, preserving its timeless refinement and style, while adapting to modern tastes. L a G ra n d e Cl a ssique d e Lon gi n e s, R41 000, Art hu r Ka p l a n Jewel lers
FLEX
to-do list TE X T Sahi l Hari lal and Sarah Bui tendach
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Get lost in the largest collection of its kind in the world at the Zeitz Museum of Contemporary Art Africa at the V&A Waterfront. The architectural marvel, which was created out of an old grain silo, offers a must-see introduction to art from Africa and its diaspora. The exhibition All Things Being Equal — which offers a multi-faceted display of artists, opinions, and mediums — is on until December. z eitz mocaa.mu seum
6 READ
EXPLORE
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7 THINGS
Your must-do list this summer
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INDULGE 7
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Dario Argento’s 1977 cult supernatural horror film Suspiria has now has been reimagined by Call Me By Your Name director Luca Guadagnino. With an all-star cast — including Tilda Swinton, Dakota Johnson, and Mia Goth — and score by Radiohead’s Thom Yorke, it is already being hailed as Guadagnino’s bloody masterpiece.
In Steve McCurry Untold: The Stories Behind the Photographs, we are given a glimpse into the legendary American lensman’s life. Eyewitness accounts, personal photographs, journal extracts, and maps show and explore the creative processes responsible for some of the world’s most recognisable imagery, including the iconic Afghan girl with the piercing green eyes. j o n a t h a n b a l l . co. z a
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WEAR
3 Bulgari Goldea The Roman Night Absolute is the superseductive version of last year’s Bulgari The Roman Night fragrance. The name combines “gold” — the very essence of Bulgari — with “dea”, the Latin word for goddess. Master perfumer Alberto Morillas has reimagined the precious metal as a nocturnal goddess, exploring the duality between light and shadow. B ulgari Roman Nig ht Absolute ED P, 30m l, R9 6 5
Add a touch of Karl Lagerfeld to your sportswear with pieces from Puma’s latest collaboration with the fashion icon. Fifty years since its first sneaker launch, Puma has joined forces with Lagerfeld, who has lent his signature aesthetic to create a capsule collection for men and women that includes cropped T-shirts, jumpsuits, hoodies, and unisex sneakers inspired by King Karl’s personal style.
Louis Vuitton brings a sense of whimsy to its Autumn 2018 collection, aptly dubbed LV Stories. It features our favourite Louis Vuitton leather goods, with patches ranging from tattooed roses to monogrammed flowers, all artfully scattered for maximum sartorial impact.
PHOTOGRAPHY ZEITZ MOCAA AND SUPPLIED
BUY
1
A FRIEND
T H AT W O N ’ T
FLAKE.
Let’s get real. A true friend never flakes. Meet Sorbet’s new Get Lippy lipstick – the BFF that’ll never let you down , ensuring your lips feel as madly moisturised as they look. Created by our skin experts for the women of South Africa.
NEW SORBET MAKEUP COLLECTION NOW AVAILABLE AT SELECTED CLICKS AND SORBET STORES.
C62300_Sorbet Lippy 297x235.indd 1
2018/09/27 5:30 PM
FASHION
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D R E S S , R 2 2 3 5 0 ; S C A R F, R 6 550, B OT H B UR B E R R Y; CUF F S , F R OM R 5 090 TO R 5 190, B OT H KI R ST EN GOSS
fashion
PR ODUCTI ON Sharon Becker
PH OTOGR APH Y Steve Tanchel
postcards from the 32
Take a trip back in time to the languid cocktail hours of the ’60s, draped in vivid coloured prints of fragrant florals, delectable summer fruit, and blossoming botanicals
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B LOU S E , R 3 8 995, GI OR GI O AR M ANI ; B E R YL DI NGE M ANS E AR R I NGS , R 1 300, T H AT ’S I T
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W I TC H E R Y S W I M S U I T, R 1 1 9 9 , W OOLW ORT H S ; E T R O DR E S S , R 16 900; E T R O H AT, 3 400, B OT H 2A; NE CKLACE , R 3 650, KIRSTEN GOSS
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D R E S S , R 3 8 2 0 0 ; B AG , R 3 7 2 0 0; S OCKS , R 3 200; H E E LS , R 14 650, ALL P R ADA; ANA S R DI C E AR R I NGS , R 2 200, THAT’ S IT
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J U M P S U I T, R 5 4 0 0 0 ; S U N GLAS S E S , R 13 400; E AR R I NGS , R 10 000; H E E LS , R 19 000, ALL DOLCE AND GABBAN A
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K I M ON O, R 2 2 1 0 0 ; T R OU S E R S , R 1 6 7 0 0; E AR R I NGS , R 6 000; P E AR L NE CKLACE , R 16 800; R I NGS , F R OM R 6 000 TO R10 100, AL L GUCCI
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PAU L & J OE S H I RT, R 9 4 0 0 ; PAU L & JOE T R OUS E R S , R 4 900, B OT H CAT H E R I NE GAE YLA; NE CKLACE , R 3 650, KIRSTEN GOSS
PHOTOGRAPHY STEVE TANCHEL/RED HOT OPS PHOTOGRAPHER’S ASSISTANT THEMBA MOKASE MAKEUP LIZ VAN DER MERWE/RED HOT OPS HAIR SAADIQUE RYKLIEF, USING BALMAIN HAIR COUTURE AND FRONT ROW HAIR EXTENSIONS MODELS ANOUSHKA/BOSS FASHION ASSISTANTS SAHIL HARILAL AND KENEILWE PULE FASHION INTERN ANGELIQUE CRINALL
Skip summer brights and opt for understated organic shades of burnt orange, wild olive, and milky white, punctuated with bold, exotic prints, and laid-back stripes
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Classic nudes
fashion
PR ODUCTI ON Sharon Becker
PH OTOGR APH Y Travy s Owen
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WITC HE RY JAC K E T, R1 99 9 , W I TC H E R Y S K I RT, R 1 0 9 9 , BOTH W O O LW O RTHS; E AR R I N G S , R 7 9 , E D G A R S ; C H OK E R , R69; NA L E D I RI NG , R6 9, B OT H W OOLW ORT H S ; B AG , R329 , H& M; SA NDA L S, R 8 2 9 , C H A R L E S & K E I T H OPPOSI TE PAG E : D RE SS , R 1 9 0 0 , PR I N G L E OF S COT L A N D ; COAT, R4 9 8 0 , TE D B A K E R ; E A R R I N G S , R 7 9 , E D G A R S ; S C A RF, STYL I ST’S O W N
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PHOTOGRAPHY TRAVYS OWEN/ONE LEAGUE CREATIVE AGENCY PHOTOGRAPHER’S ASSISTANT SIMZ PHOTO MAKEUP LIZ VAN DER MERWE/RED HOT OPS MODEL SHANTE/ICE FASHION ASSISTANTS SAHIL HARILAL AND KENEILWE PULE FASHION INTERN ANGELIQUE CRINALL
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S UI T JACKET, R1 499; SUIT TROUSERS, R 1 199, BOTH H&M; WITCHERY SHIRT, R 1 099; ST UD EARRIN GS, R70; N AL EDI RIN G, R 69, AL L WOOLWORTHS; N IN A ROCHE SL IDES, R3 525, SPITZ OP P OS I T E PAGE: DRESS, R1 499, H&M; EARRIN GS, R79, EDGARS
MODEL SHANTE/ICE FASHION ASSISTANTS SAHIL HARILAL AND KENEILWE PULE FASHION INTERN ANGELIQUE CRINALL
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fashion
TE X T Nothemba M khondo
PR ODUCTI ON Natali a Keet
PH OTOGR APH Y Klas Strom
L
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uxury is no longer an adults-only club. These days you don’t have to look too far to find under-14s kitted out in Gucci’s familiar snake and tiger motifs, Dolce & Gabbana’s signature florals, or even Burberry’s iconic check. As more luxury brands start translating seasonal must-have items and trends from their ready-to-wear collections into equally modish, matching miniatures for newborns and children up to the age of 14, it is clear that the new luxury fashion consumers are ultra-stylish — even if they’re still in nappies. Although it may seem like an outlandish concept — you’ll inevitably ask yourself if anyone under 30 really needs couture Dior — luxury kidswear is nothing new. Christian Dior introduced Baby Dior all the way back in 1967, and over the years many brands have jumped on the bandwagon, proving not only the desirability, but also the viability of designer wear for a younger audience. Now you can find children’s collections from a growing list of brands including Fendi, Versace, Balmain, Stella McCartney, Lanvin, Elie Saab, Balenciaga, and Burberry. And what will it cost you? Think £385 for a Fendi dress, £745 for a blazer from Balmain, and £600 for an iconic Burberry trench coat. Gone are the days of kidswear being about practical outfits that are purchased to be outgrown and played in: these days kids’ apparel is about making a stylish statement. “Everyone is looking for that individual style touch, and luxury kids’ brands are no different. The way kids dress today is not just about the practicality anymore, but about the attention to detail,” says children’s stylist Natalia Keet. And in today’s world, where brands have gone logo crazy, that is code for, “Look at how cool me and my kid look matching in Fendi.” On the surface, the rise of luxury kidswear is driven largely by social media and millennial culture. In the age of the millennial, where Instagram is king, luxury brands are grabbing the attention of image-conscious consumers with statement clothing — and creating equally high-end clothing for their kids is a no-brainer. The mini-me trend is the direct result of our image-driven culture, which now sees brands such as Gucci and Dolce & Gabbana mirror their ready-to-wear collections with matching kids’ outfits. Both brands have dedicated Mini-Me sections on their websites, and Dolce & Gabbana takes it to the next level by allowing shoppers to simultaneously purchase clothes for themselves as well as matching kidswear items, on the same page. The internet and social media have changed how we think, how we shop, and even how we interact with brands, both luxury and high street. According to a study by Bain & Company and online retailer Farfetch, “Today, 70% of luxury purchases are influenced by online interactions,” meaning the power of the internet and social media is unprecedented. “Digital interactions are completely changing consumers’ approach to luxury,” states the study, and with the rise of luxury e-commerce sites, such as Net-A-Porter, MatchesFashion, and Farfetch, and the introduction of shopping on Instagram, the avenues for consumer brand buy-in are manifold.
JACQ UA RD TO P ; B LOU S E , B OT H M OT H E R OF P E A R L ; T R OUS E R S , LI T T LE CR E AT I V E FAC TOR Y; T R A I N E R S , C R I M E LONDON
THE COOL KIDS Childrenswear has reached a whole new level of cool with brands such as Dolce & Gabbana, Gucci, and Versace kitting out younger customers in luxury threads
OVE R S I Z E D JUM P E R , B E AU H OM M E ; B OS S S H I RT, H UGO B OS S
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S CAR V E S , B OT H JOULE S
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OVE RS I Z E D D R E S S W I T H PE A R L S , M OT H E R OF P E AR L; GUCCI P LE AT E D S KI RT, ALE X AND ALE XA; S OCKS , ST YLI ST ’S OW N; TRAIN ERS, CRIME LON DON
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FROM LEFT: BLAZER, PAUL SMITH; WOLF AND RITA CARDIGAN; WOLF AND RITA SHORTS, BOTH ALEX AND ALEXA; T-SHIRT, SOMEDAY SOON; DR E S S ; FUR JACKET, BOTH EMPORIO ARMAN I; JACKET,
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VELVET SUI T, PAUL SMI TH ; T-S H I RT, J OU L E S C LOT H I N G ; L E AT H E R JACKE T; TOP ; S KI RT, ALL M I CH AE L KOR S ; GUCCI T I E , ALE X AND ALE XA; LE MU ; T-SHI RT, B E AU HO M M E ; T R OU S E R S , L I T T L E C R E AT I V E FACTOR Y
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F R OM L E F T: JAC K E T, W E S L E Y H AR R I OT; S H I RT; T R OUS E R S , B OT H LI T T LE CR E AT I V E FACTOR Y; H AT, M E R V E BAYIN DIR; TRA I NE RS, C R I M E LON D ON ; T H E A N I M A L S OB S E R VATOR Y CAR DI GAN, ALE X AND ALE XA; B LOUS E , M I NI A T UR E ; DR E S S , M AR I E CH AN TAL ; TRAIN ERS, CRIME LON DON
PHOTOGRAPHER’S ASSISTANT TOM NORTH HAIR AND MAKEUP CELIA GUINEY/ERA MANAGEMENT PRODUCTION ASSISTANT ANDREA GUMIEL MODELS RILWAN CHOI, SADIE THWAITES, KAYEON ANTHONY, ETANA JONSON/ALL KIDS LONDON; SANTANNA MURRAY/BRUCE & BROWN LONDON
But luxury kidswear is just the tip of the giant industry iceberg. The global childrenswear market is making big strides in the fashion industry as a whole, and is reportedly growing at a faster rate than menswear and womenswear. “Parents will always put their kids’ needs first, and I think this plays a role in the success of the kidswear market. Even in financial crashes, spending on children is not impacted by the tough financial times,” Keet says. So why opt for luxury when your children will not only outgrow their designer garments, but are also likely to play outside in them? There is much to be said for quality when it comes to children’s clothing, as mini garments have to withstand the wear and tear of being worn by busy little bodies. So, if you can afford it, luxury kidswear makes sense when it comes to longevity. “The quality aspect is a factor, which makes it easier to repurpose kids’ collections for resale,” Keet says. But when it comes to the local fashion industry, luxury kidswear has not quite taken off to the same degree as it has internationally. Of all of the luxury international brands that have marked their territory in the local fashion landscape, Dolce & Gabbana and Versace are the only brands that have introduced and still stock their kids’ collections, while the rest have held back. And luxury multibrand store Luminance — which used to stock multiple kidswear brands, including Baby Dior, Stella McCartney Kids and Chloe Kids — no longer offers childrenswear. For locally produced brands, it’s even harder to tap into this market. Cape Town-based designer Thabo Makhetha, who designs luxury capes and coats using BaSotho blankets, ventured into the realm of kidswear for her own brand in 2017, but the response was not as she had expected. “Sometimes as a parent, you want something that matches with your kids because it looks cute. I decided to start with a few pieces and there was interest,” Makhetha says. “But when I did a full collection and started to push that, we didn’t see the same interest and growth that we had when we established the main brand. One of the things that came through a lot was the price points. But people forget that when you are making children’s clothing, it may be smaller pieces but it takes just as much time as doing a grown-up outfit. In terms of the cost of labour, it’s not cheaper because it is smaller. It still has the same number of panels and also, it’s smaller work, so it is more intricate work. “Some people are not willing to spend that much on their kids: they’d rather spend that much on themselves,” Makhetha continues. “Also, remember the rate at which a child grows. If you’ve got to invest in a R1 500 jacket for a two-year-old who’s not going to be able to wear it the following year, you kind of think, ‘Uh, is that money I am willing to invest for my kid for them to look good?’” Luxury kidswear is not for everyone: it clearly has its specific consumers. Those people who have a wardrobe full of Gucci, Dolce & Gabbana, and the like, are less likely to flinch when swiping a few thousand rand on stylish threads for their kids. But in South Africa’s difficult retail market and with our ever-weakening currency, it’s understandable that many of us are leaving the luxury to the adults.
T U RT L E - N E C K TOP, B ON POI N T; T U L L E DR E S S , NOÉ & ZOË ; T R OUS E R S , LI T T LE CR E AT I V E FACTOR Y; GLI T T E R B OOT S, CRIME LON DON
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“I
believe the norm is not for everyone,” says Ghanaian photographer and visual artist Prince Gyasi. Take one look at his powerful portraits and these words clearly hold true for this young, African image maker. Gyasi is fast gaining recognition for his singular aesthetic that casts an illuminating gaze on dark-skinned muses with a bold and emotive use of colour. In the time of mobile photography and social media, where cellphones are virtual galleries and visual distinction is crucial, Gyasi has found his own unique creative frequency to cut through the noise. Not only does he seek to transcend the traditional photography medium, but he also aims to make meaningful visual art with a new-wave practice. “If you look at my work from afar, what do you see?” Gyasi asks. “Do you think it looks like a painting or a normal photograph?” Gyasi, who
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uses an iPhone to capture his images, may be a photographer, but he creates his work with artistic intention. He frequently speaks about “painting stories” and revels in the emotion and power of colour. The result? Dynamic visuals with bold, dreamscape-hued backgrounds filled with thoughtfully orchestrated characters, loaded with power and purpose. “I don’t want to be a photographer: I want to be a visual artist. Anybody can take a camera and take a picture, but when you’re an artist you start putting more value and meaning into your work,” Gyasi says. “You start affecting people, rather than just taking pictures and giving them captions.” Gyasi’s work takes photography into the realm of visual art by conceptually telling the uncaptured narratives and experiences of African youth, mostly from a small, neglected Ghanaian fishing town called Jamestown. “I started taking pictures of these kids in
a different style that you don’t see in Africa. The kids that you see, I am telling their stories,” he says. Whether he is expressing issues around fatherhood, as in his series Care/Love, or simply trying to distill the ideas of patience and hope into a resonant visual, Gyasi’s images are always inspired by real-life experiences and emotions — those of the people he speaks to or his own. “I can only talk about African and black experiences,” he says. “I’m black, so the only way I can express my views is through black muses or models.” As a millennial image maker, Gyasi tells his unique stories using a digital canvas. Armed with an iPhone SE and iPhone X in his creative arsenal, this 23-year-old conceptualises, directs, captures, and artistically edits his images by manually adjusting the colours of the subjects and backgrounds to harness the power of colour. “I believe that every colour has emotion attached to
IN FULL COLOUR
Visual artist Prince Gyasi harnesses the power of mobile photography by
art
TE X T Nothemba M khondo
PH OTOGR APH Y Pri nce Gy asi
Clockwise, from top left: Untitled, 2016; Hata!, 2016; What a Lot I’ve lost, 2018; Lawn, 2016; Divider, 2016; Lungiswa Gqunta
hy by turning his iPhone into a digital canvas
it. Most of my colour play has to do with talking to the viewer and expressing the story I am trying to paint,” Gyasi says. Gyasi has always been creative. He recalls being enthralled by a photographer he frequently followed around as a child, and cites his creative family as a catalyst for his love of the arts. He found his creative voice with mobile photography six years ago, when he started taking photographs of people with his BlackBerry. This was after he had realised — during his visual arts studies — that drawing and painting were not his strong suits. “I just thought, I want to think differently: I don’t want to use a traditional camera. It feels good to be different,” he says. But going against the grain is no easy feat. Even though photography has changed so much over the past few decades, professional industries still expect traditional methods from photographers, meaning Gyasi has had to prove that the tool doesn’t matter as much as the talent of its master. “Sometimes people don’t think I can pull off certain jobs because I use an iPhone. People think about the tools you use rather than the work you do,” he says. But when it comes to drawing the eyes of viewers — on hand-held screens and in gallery exhibitions alike, Gyasi is making a truly unique mark that renders the how insignificant. When Gyasi started out, people didn’t even know that his images were created using an iPhone: now, it’s part of his unique selling point. On Instagram you’ll find his images tagged with hashtags such as #ShotOniPhone and #iPhonePhotography, signalling not only the power and potential of his tool, but his own level of mastery. “I’m never going to compromise; I’m always going to use an iPhone,” he says.
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interview
TE X T Andrea Nagel
PH OTOGR APH Y Ross Garrett
T H E O F W O M A N
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M O M E N T
A
rt and fashion advertising have always had this in common: women have been portrayed as beautiful objects, to be admired by the male gaze. Since humans first learnt to make images, women have appeared in passive, non-confrontational poses: covering the pages of magazines and art-history books, gallery walls and billboards — often nude or close to it — sometimes with that heavy lidded, come-to-bed stare, and usually foregrounding some or other salacious body part. And when women are on the active side of the canvas, they’ve often turned themselves into their own subject matter. Frida Kahlo, for example, or, recently, Zanele Muholi, both of whom have, in their own ways, made sociopolitical statements about gender and race by forcing the viewer to confront the image, by looking you directly in the eye — no pouting, no smiling, no smouldering. They dare you to fess up to your dirty voyeurism, while challenging the traditionally passive objectifying of the female form. “Look at me,” they seem to say, provocatively. “I have dressed myself up for your viewing pleasure, but I will not allow you to be comfortable in admiring me, or for your gaze to be uncontested.” Billie Zangewa is making a different statement. With a background in fashion and a long love affair with fabric, Zangewa uses the quiet strength of silk to tell her story, gently inviting you into her private domestic spaces and elevating the traditionally female scenes of family and home to high art, created with this lustrous, feminine fabric. “I’ve always loved fashion,” she says. “I love the haute couture fabrics that are sumptuous and luxurious; the fantasy and drama of high BILLIE ZANGEWA fashion.” She was this year’s featured artist at the FNB Joburg Art Fair, which took place recently. Zangewa, who has a South African mother, was born in Malawi and raised in Gaborone, Botswana. She studied at Rhodes University, where she found the pressure to suppress the femininity she wanted to let loose in her work stifling. She now lives and works in Joburg and is an excellent choice for the FNB Joburg Art Fair, which has previously celebrated African artists living in other parts of the world. “Growing up in Gaborone there were no artists’ studios and no printing presses. To make art I had to use what was available. My friend had a trunk full of pieces of fabric that her grandmother had left her. In it I found beautiful black satin from the 1920s to use as a canvas onto which I embroidered plants and animals,” she says. All of Zangewa’s works are entirely hand-stitched. Zangewa could simply have made clothes, but her creativity needed a longterm outlet. She attributes her creativity
Portrait of Billie Zangewa
The FNB Joburg Art Fair 2018 featured artist invites the viewer into her private, domestic spaces, with her intimate, feminine creations
to lack of materials such as canvas, brushes, and paint. Zangewa says before she had the means to buy the fabric she needed for her work she had to make do with whatever she could scrounge. “I would go and beg for swatches at fabric houses,” she says. “Lack was good for me. Piece by piece I had to work from scratch, sourcing whatever bits of shimmery silk I could get my hands on. In this way I found my technique and fell in love with the idea of appliqué.” As her visual style fell into place Zangewa’s I started thinking personal narrative was coming to bear on her art. about how a woman At art school she was told not to be overtly feminine in the subject matter or style of her work. “We sees herself as were told to remove references to gender; disguise beautiful in her space, the evidence that a female artist had created the work. The idea was to desexualise the art because expressing herself in her femininity in art would not sell unless it was either own way, through full of angst or full of sexuality.” Zangewa has a strong, rebellious spirit that her her own eyes soft-spoken, gentle exterior belies, and she took the first chance she got to say: “Watch me, I’m going to sew… I’m going to make pictures about my baby, about dressing up, about sitting in the garden, about lying in bed, about preparing my child’s bottle, about getting ready for a date, about stolen moments between lovers — and all of these pictures will be beautiful; they will be art.” And so she started to create scenes that are real, intimate, human — and full of what some people might call the mundane, everyday concerns of women’s lives, moments frozen from the artist’s day. “I start off with an experience that elicits an emotion,” she says. “Some social ritual, or snapshot of a feeling I’d like to share.” Initially, Joburg itself was an inspiration. “I was inspired on my daily commute by the pixelated glass of the inner-city buildings, shining in the highveld sun. It reminded me of the reflective quality of the silk,” Zangewa says. Her first works focused on cityscapes, but soon she moved onto interrogating intimate experiences within the city. “I found that telling the story of my intimate life was a kind of personal empowerment, and started thinking about how a woman sees herself as beautiful in her space, expressing herself in her own way, through her own eyes, and not in a way that is overly influenced by men or for men,” Zangewa says. “I hope the images connect women to each other through shared experiences of all the different roles that women play, but also through an appreciation and love of beautiful fabric.” Zangewa often uses irregularly-shaped fabric, as if pieces have been left out or torn from it, lending a sense of deliberate incompleteness to the narratives presented. “At first this was because of a practical need to use the end-of-roll bits of fabric, but then I started to love the works like this,” she says. “I always felt such huge pressure to be perfect in every way — something I think a lot of women relate to. As women in a patriarchal society, we always have to strive harder for perfection. But then I had my son, and I changed, so my work changed. I cared less about perfection (it was impossible anyway) and became more approachable, more intimate, more available... and I just started pronouncing every work complete and perfect — even if it’s not.” blankprojects.com/artists/billie-zangewa
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PHOTOGRAPHY ROSS GARRETT/LAMPOST MAKEUP LIZ VAN DER MERWE/RED HOT OPS DRESS MARIANNE FASSLER
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retrospective
2 010
Loxion Kulca
Clive Rundle
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“I
t’s not a fashion show. When those lights go on, it’s a stock exchange,” says Lucilla Booyzen, the founder and director of South African Fashion Week (SAFW). With 21 years of SAFW shows to her name, Booyzen has proved herself to be a true advocate for the growth and success of the creative fashion industry in South Africa — and it is clear that she means business. More than 500 designers have showcased on the SAFW runway since its inception, and an astounding 12 000 people are there to witness it over the course of five days, every season. But, as Booyzen explains, the platform is more than a seasonal presentation of clothes on a ramp with lights and cameras — SAFW is the business of fashion. What showgoers often don’t see is what exists beyond the slick, white runway — the scope and depth of what SAFW really means to designers and to the industry as a whole. Whether it is bringing new designers to the surface through the New Talent search; organising specialist courses in how to cut and create patterns according to the French blocks; sharing and implementing the knowledge of pricing, quality control, and fabrication, through the Fashion Agent; or hosting trade events that provide business-to-business buying opportunities for local brands, Booyzen has been growing SAFW one solid step at a time. SAFW provides the skills and knowledge for designers not only to tap into the middle market, but also to thrive in a competitive industry. “The designers did not have the formulas that would allow them to tap into the middle market and to make their margins so that they could compete with their store competitors and still make a profit. We can share that knowledge, and that, of course, has an enormous ripple effect,” Booyzen says. “We developed a fashion system — a creative designer system — where there was never a system before,” she says. Through this system, SAFW developed a new way for designers to operate in the local industry. Within a fashion landscape that saw department stores starting to dominate the local market and designers struggling to compete, Booyzen saw the opportunity for a new fashion industry to emerge. Gone were the days of designers strictly working on an occasion-driven, made-to-order basis with their clients, and a new era of creative fashion designers who could create a new identity for South African fashion was born. “In 1997, I literally woke up one morning and I knew it was the right time to
Black Coffee
TE X T Nothemba M khondo
REFLECTIONS
THE
ON
As South African Fashion Week turns 21, founder and director Lucilla Booyzen reflects on building a platform for the creative fashion design industry in South Africa, for all the world to see
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I realised that we would never have a designer-led fashion industry in South Africa if we didn’t have a fashion week
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cial thing because it links into the zeitgeist — it is linked to what is happening in the world — and it is completely unconscious. “Creative design is on a completely different level because it is emotionally linked: it’s desire; it’s based on emotions, whereas manufacturing is based on necessity,” Booyzen continues. “If we can build our creative design industry as well as our manufacturing industry, we don’t have to compete with anyone in the world.” Although we still have some way to go, the world is already sitting up and taking notice: the fashion coming out of South Africa is unlike anything else in the world, and SAFW plays an instrumental part in magnifying our homegrown talent for the world to see. “There is a South African aesthetic that is developing that is completely on par with the European aesthetic, but it has a South African soul to it. And that is something that needs to be developed because that is what the world will buy into,” Booyzen says. As a person who has not only attended fashion weeks but worked in the industry in various countries all over the world, Booyzen knows exactly what makes our industry unique. “Our strength lies in our diversity — you don’t get that in other countries. If you go to London, there’s one aesthetic coming out of London. If you go to SAFW, there are 49 aesthetics coming out. Every designer has a different background, different culture, different language, and they portray that difference,” she says. Leveraging our difference means finding the right designers to tell our unique narratives, and the designers who are driving, and will continue to drive, our fashion industry forward are easily spotted by Booyzen’s trained eye. “I can see the potential of a designer by just speaking to them and seeing a bit of their collection. I can see where the depth is. To be a designer you need huge depth — a depth that education cannot buy you,” she says. So what is on the agenda for the next 21 years? More building. “We’re building on what we do. All the new opportunities that come our way: if it benefits the designers, we embrace it. It’s a privilege to do what I’m doing: it’s not a given. It a great honour and a great privilege — and it’s a huge responsibility,” Booyzen says.
DESI GNER S
Share their top SAFW moments
do fashion week,” says the former teacher and model. “I realised that we would never have a designer-led fashion industry in South Africa if we didn’t have a fashion week.” In August that year, Booyzen tapped 17 designers — many of whom are still renowned in the industry today — to present their talent to an eager audience in a marquee in Nelson Mandela Square. “It was the first time that audiences sat in tiered seating next to a runway. People loved it. When I look at the street style that was shot then — it’s like now. It was definitely the right time: there was such understanding for it,” she says. It’s been 21 years, and every single season Booyzen is still standing up for the designers, with each strategic step being spurred on by the collective success of the designers that have shown. “Every collection is a highlight for me. I don’t think people understand: every garment that comes out from every designer is completely unique and being seen for the first time. People don’t understand what it takes to even do that,” Booyzen says. “That’s why I’m standing for the designers. People don’t think about what it takes from your ego, from your soul, to do what you do against all odds. When you understand what a designer goes through, then you will understand why I started this platform.” As a space that fosters creative design, designers are given the opportunity to tap into their own voices and create their own narratives, instead of being led by the market. “We have given the designers the opportunity to design a collection that comes from their design soul,” Booyzen says. “A design soul is a very spe-
MARIANNE FASSLER
I think every show was a highlight, but I remember specifically how happy I was when Steven Cohen, the performance artist, attended one of my shows in full costume. How I regret that it was before we all had cameras on our phones, because I have only one image, but it is one that I will treasure forever. I believe there have been many highlights over the past years, but nothing to match the excitement of the first shows. This was something so completely new and exciting for everyone. I am in awe of the longevity of the product and the fact that Lucilla has managed to sustain her original vision, which was to provide a sustainable, professional showcase of South African fashion in the context of fashion weeks all over the world.
CLIVE RUNDLE
Who would have guessed that 21 years later SAFW and fashion would have grown to what it has in a postapartheid South Africa? Fashion continues to be an avenue to our national identity in a new way. This movement forward could not have been predicted when Lucilla started SAFW, as the only platform for South African designers to showcase a collection. Of course, there are many memorable moments, but the show at the Shul in town was a really awesome environment in which to showcase, and remains one of my favourite shows in Johannesburg.
MMUS O MA XWELL
Our favourite moment definitely has to be winning the Sunglass Hut New Talent search. It introduced us to a wider audience and sort of propelled our brand to where it is now. We have only been with SAFW for almost a year. We were initially attracted to the platform because it’s business driven and that’s what all designers truly need — a platform that focuses more on the business of fashion. We can definitely see the progress in our brand, both in terms of business and audience reach.
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STOCKISTS N 10
sp ri n g / sum m e r 2 018
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FA S H I O N
2 A 0 1 1 3 2 5 4 545 A m er ica n Sw is s 021 529 3070 A r t h ur Ka p l a n J ewel l er s 011 669 5600 Bur be r r y
011 325 592 3 C ath e ri n e Gaeyla 0 1 1 4 4 7 2 550 C h a r l es & Keit h 021 9381217/ 021 9374686 C o l et t e H ay man 021 937 4648 Co t t o n O n 011 883 1 2 0 7 C o u n tr y Ro ad wo o l wo r th s . c o . z a D ies el 011 783 0882 D o l c e & G a b ba na 011 326 7808 E dg ar s 011 685 7000 Forever New 0 1 1 8 8 3 4 5 8 5 Fo sc h i n i 0 2 1 938 7666 G io r gio A r m a ni 011 326 7853 G ucc i 011 326 79 28 H &M hm.c om/ za K i r s t e n Goss 011 447 2 2 3 4 L o u i s Vu i t to n 0 1 1 7 84 9854 M a ngo 011 685 7000 M a r ia nne Fa s s l er 011 646 8387 M at & M ay matandmay. co.z a M osco n O p ti c s 0 1 1 4 8 3 8 0 0 1 MRP m rp . c o m Pa l l a d ium 011 444 2270 Pr a d a 011 326 7517 Pr ingl e o f S c o t land 011 444 2270 Pri vé Revaux pr ive r evau x . c o . z a Pu m a 0 2 1 5 51 0832 S c o t ch & S o da 011 784 3233 S pit z 010 493 3955 S upe r dr y 011 784 0496 Ted Baker 011 88 3 3 8 0 3 Th at’ s It B o u ti qu e 011 268 6674 Tr ener y wo o l wo r t h s . c o . z a Tudo r t u d o r wa tc h . c o m W i t c h e r y woolwor ths .c o.za Woolwor ths wo o l wo r t hs . c o . z a Z ara 0 1 1 3 0 2 1500
* Prices and availability were checked at the time of going to press. Sunday Times The Edit cannot guarantee that prices will not change, or that items will be in stock at the time of publication.
BEAUTY
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ALL CLOT H I NG, GUCCI
beauty
PR ODUCTI ON Louw Kotz e
PH OTOGR APH Y Ross I v- Skay a Elena
THE 64
Move over soft, spring pastels. This season’s statement beauty look of neon tones paired with iridescent skin is perfectly complemented by Gucci’s playful collection
NEW NEON
WIL L I A M K E NTRI D G E & M A R G U E R I T E ST E P H E N S , CITY O F M O SCO W, 2 0 0 9 ; COU RT E SY OF TH E A RTI STS/ G O O D M A N G A L L E R Y
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IN THE SPOTLIGHT
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Prevent matte eye pigment textures from looking dull and dated by setting them against a glowing, fresh face. Create a lit-from-within luminosity by prepping with a radiance primer or illuminating moisturiser applied to the high planes of the face. Mix two pumps of foundation with one to two drops of facial oil to give your coverage a slightly sheer, dewy consistency and tap into the face with a blending sponge to lock in your product
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C R AYO L A BRIGHTS
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Feel like a kid again and play with all shades of the colour wheel this season. From cobalt blues and highlighter yellows to emerald greens and blood reds, no colour is off limits. Play it reasonably safe with bold, primary colours or go full tilt with acid neons. “The rest of the face should be pared down with a nude lip and a subtle cheek. I would use more lining techniques for this, such as rimming the eye with a blue liner and smudging the edges. Even just a flick of a blue liquid liner will do the trick. Minimal equals modern when it comes to this trend Raine Tauber, makeup artist
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TEXT NOKUBONGA THUSI PHOTOGRAPHY ELENA IV-SKAYA/LAMPOST LUSTRE LOCATION NORVAL FOUNDATION FASHION ASSISTANTS BRIGITTE ARNDT AND LETHABO MOTLATLE HAIR AND MAKEUP SUAAD JEPPIE, USING CHANEL MODELS NKOSAZANA S /TWENTY MODEL MANAGEMENT SETHU N /TWENTY MODEL MANAGEMENT TOBI /BOSS MODELS
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HAIR AND MAKEUP SUAAD JEPPIE, USING CHANEL MODELS NKOSAZANA S /TWENTY MODEL MANAGEMENT SETHU N /TWENTY MODEL MANAGEMENT TOBI /BOSS MODELS
STANDOUT SHADES
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This trend is pretty bold, but you can amplify the effect of bright, neon eye looks with careful product placement. Create a minimal, yet striking look by concentrating the colour only in the space between the lash line and the crease for a slither of vivid colour. Feeling a bit more adventurous? Try leaving the eyes unframed by concealing the eyebrows with a cream concealer, then applying foundation to create the illusion of bleached or barely-there brows
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interview TE X T Nokubonga Thusi
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THE HOUSE OF CHANEL knows a thing or two about going against the grain: from revolutionising womenswear with the creation of its classic tweed suiting in 1924, to constructing monumental structures in the Grand Palais every season for Paris Fashion Week. There has always been a sense of elegance underscored by the rebellious genius synonymous with the brand and its founder, Gabrielle Chanel, whose innovative spirit still infuses the brand. The Chanel beauty looks have brought a sense of fantasy and wonder to the fashion collections, creating some of the world’s most iconic shades and trends. When Peter Philips stepped down as creative director of Chanel Beauty in 2014, it was only fitting that the house would need someone who had the same innovative approach. “I’m making collections, but I am always talking about my concept in depth. I am always creating some analogy around the story to keep people interested and dreaming about the world of makeup, the vision of makeup, and what you can create with it.” These are some of the thoughts of makeup artistry maverick and Chanel’s global creative director and colour designer, Lucia Pica. Since taking the helm of Chanel Beauty in 2015, she has been changing the face of its aesthetic and disrupting the world of makeup with her unflinching passion and studious curiosity that she has imbued into each of her nine collections. Pica embodies the modern Chanel woman, even possessing a striking likeness — and similar rebellious streak — to Gabrielle Chanel. Her enduring obsession with the colour red means she is never without a stamp of the hue, whether it is in her lipstick, or the unique red birth mark cascading down her arm. After a whirlwind of commitments, one of them being to create the beauty looks for the Chanel show at Paris Fashion Week, Pica had 30 minutes to spare to chat about
her new collection. As I dial into the conference call, I can feel a warmth radiate through the phone, as she breaks the ice by recalling a recent trip to Cape Town, weaving in humorous anecdotes and speaking passionately, accompanied by an ever-present bashful laugh. Pica is more than a creative director who gets the opportunity to play with makeup all day and call it her job: she is a storyteller who is on a quest to encourage women to experiment with colour and makeup textures. “When I first got to London, I was so fascinated by the different ways people expressed themselves and how no one was conforming to anything,” Pica says. “I think that’s what’s become my style in a way: to never conceal the woman that’s in front of me but really just bringing her out to show,” Pica continues. “I think it’s very much about respecting individuality as well. There are suggestions, of course, and tools being used — but we don’t all have to look the same: we can all look beautiful differently.” It is this point of view that has helped Pica create some of the most avant-garde makeup collections we have seen from Chanel. Her approach stems from her years of experience in makeup artistry, creating editorials for publications such as British Vogue and Vogue Paris, and indie magazines such as Interview or Dazed. Pica has never been dictated to by trends: she has always drawn from what she finds emotionally inspiring and practical for women. Pica’s hometown of Naples provided the inspiration for the vibrant colour collection, Neapolis; and she has created every woman’s answer to quick, multi-purpose makeup with the Palette Essentielle. Her first collection, Le Rouge Collection No 1, inspired by her obsession with red, explored every shade, texture, and emotion that the colour could evoke. “The reality is that I just can’t get away from red. It’s so daunting at the beginning to choose what your first collection is going to
MEET A MAKEUP ARTISTRY M AV E R I C K
From Naples to Paris — Chanel global creative director and colour designer, Lucia Pica, takes us on her creative journey through red
PHOTOGRAPHY CHANEL
be,” Pica says. “After thinking about it for a long time and making mood boards, before I even decided to go for the exploration of red, I just noticed that red was always present. It then clicked that it was something that I had explored a lot in my editorial work; something that I love so much. Red happens to be one of Chanel’s code colours, and then it became evident to me that this was what I needed to do. Red is my territory and I knew I could look at it from different angles and pair it with wearable colours, so that people could experiment with it as well.” Pica proves that makeup can be a never-ending love affair of exploration, dissection, and reinvention with her latest collection, Apotheosis, Le Mat de Chanel. This collection takes the concept of matte textures and flips it on its head to breathe in a new life of melting, luminous, potent pigments that meld into each other to settle into matte finishes that are far from chalky and lifeless. “It was about the matte texture: I wanted to go and discover how I could study it in depth. I guess Apotheosis is the depth that I go to,” Pica says. “I wanted to really explore the different facets of these textures: how I could use it in a cream texture, powdery texture or extreme matte for the eyes, but in a liquid powder for lips. And then another matte that has a little bit more of a luminous feeling, but not shimmery, of course. I think when you think about matte you think about something perhaps a little scary, a little bit ’80s — powdery and chalky. That’s why I made sure that all those textures were very comfortable, tactile, and sensorial, as well as visual.” Pica has a self-proclaimed strongheaded, persistent, and sometimes stubborn personality, and you could say she also uses the collections she creates as a form of activism: breaking down makeup mental blocks, encouraging inclusivity, empowering
APOTHEOSIS MASTERCLASS WITH LUCIA PICA The expert in colour shares her guide to her favourite Apotheosis, Le Mat de Chanel products, as well as tips for perfect application
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women, and feeding an insatiable need to reshape the societal perception of beauty with a quiet spirit that rages with fiery determination. “I think about a lot of women when I create a collection, especially when I try to do a range of colours that can suit different types of skin and personalities,” Pica says. “I don’t want to alienate anyone, but I do think about the strength that we have inside ourselves and try to bring that out. “The woman who wears this collection has a sense of serenity and strength — it can be a classic type of woman or a more experimental woman. Of course, it’s Chanel, and should reach out to everyone, but definitely somebody who has got this sense about her, and wants to explore things that interest her.” Though Pica remains mum about plans for her next Chanel collection, we have no doubt that she will continue to challenge the physics of makeup textures to give us something to make us dream, explore, and enhance all our nuances. A Spring collection inspired by the hues from her Cape Town holiday, perhaps?
on’t forget to keep the skin pretty fresh. The matte is not necessarily for the skin — you can create a contrast. You can have a youthful, fresh, and glowing skin, and then use the matte around the eyes and around the lips. “Stylo Ombres et Contour in Contour Clair, which is a three-in-one ombre contour eyeshadow pen, I would use that to define the shape that I want and use it more like a contour for the eyes. Then, on top of it, I would use the Les 4 Ombres in Clair-Obscur. “The texture for the eye shadow, for instance, Les 4 Ombres in Clair-Obscur, is matte, but its very translucent, luminous, and easy to blend. It’s very good at diffusing, so good on mature skin as well. “I would use either the Le Rouge Crayon de Couleur Mat in Impulsion and wear it mixed with a liquid powder, which is easy to mix either placed on top of a lipstick or underneath. This is a nice one to use as an introduction for women who are a little bit afraid of using lipsticks in general, especially matte lipstick because they think it’s too extreme. This one is almost like applying a veil onto your lips and it’s really easy to apply. You don’t need a lip liner or need to have technique, and you don’t have to get a sharp line right and even — it’s really super easy.”
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beauty
THE 20S Your twenties are definitely not the time that you want to be thinking about how you will age, but you should be. Though your skin still looks youthful and feels quite plump, this is the time when its ability to repair and rejuvenate itself starts to decline as the amount of collagen and elastin in the skin slowly decreases. Dehydration is the main factor that allows the signs of ageing to appear, so focus on pumping moisture into the skin. “Never ever go to bed wearing makeup,” says Dr Judey Pretorius of Biomedical Emporium. “This can cause spontaneous oxidation to take place, as well as blocking of skin pores. One does not necessarily have to start using products with high concentrations of active ingredients in your 20s, but my firm recommendation would be to chemically exfoliate by means of a cleanser that contains either an alpha or beta-hydroxy acid, such as glycolic or salicylic acid, every morning and every evening. This will act as an anti-pollution agent and clear the skin of debris, as well as reducing excessive oiliness.”
TE X T Nokubonga Thusi
N ew ag e be a u ty
As consumers become more discerning and social media fuels a more informed, inclusive, and age-optimistic community, we are seeing a shift in the way ageing is perceived
AN TI-AGEIN G VS AGE-OPTIM I S I N G
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1
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1 CLARINS PORE CONTROL PORE MINIMIZING SERUM, 30ML, R520
2 DERMAQUEST B3 YOUTH SERUM, 30ML, R1 250
3 VICHY LIFTACTIV SUPREME ANTI-WRINKLE & FIRMING EYE CARE, 15ML, R460
4 ELIZABETH ARDEN VISIBLE DIFFERENCE REPLENISHING HYDRAGEL COMPLEX, 75ML, R299
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QMS MEDICOSMETIC CLASSIC CO L L A G E N S E T, 3X30ML, R2 620
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n the past, ageing was always treated and seen as a condition that one was stuck with, not a natural process of being human. This approach birthed an influx of products that promised to “erase fine lines and wrinkles”, “make you look 10 years younger”, or “turn back the clock”. The fountain of youth was as accessible as slathering on a face cream that sold dreams of a younger, more beautiful you. These days, with every new product, app, designer brand, and even food being strongly millennial-focused (or even millennialobsessed), it’s hard not to feel like there is no room left for consumers past the millennial threshold of age 37. For the beauty industry, the fear of ageing instilled in many women has bred a multitude of anti-ageing products, each one promising to be more miraculous than the last. But the use of the term anti-ageing has become heavily frowned upon, as the world becomes more inclusive, not only of ethnicity, racial and gender diversity, but also of age. In an article in the Financial Times, Alexia Inge, co-founder and co-chief executive of beauty retailer Cult Beauty, says: “The reason the term anti-ageing is starting to feel antiquated is that it refers to an unspoken inference that a woman’s worth is in her looks, which ultimately have an expiry date — not very modern. The way to be modern and relevant is to overhaul the way we position products, the stories we tell around a brand, and the imagery we use to illustrate everything.” The term “anti-ageing skincare” has shifted, and been reinvented as preventative and protective skincare to aid in the process of ageing gracefully, rather than a panic-filled flurry of miracle creams and wrinkle-fighting potions. In a world where musician Joni Mitchell can be seen fronting a campaign for Saint Laurent at age 74, Helen Mirren is the cover star of Allure’s 2017 September issue and a L’Oréal Paris brand ambassador at age 73, and Monica Bellucci at age 53 can be seen as a regular face in Dolce & Gabbana fashion and beauty ad campaigns, the perception of ageing has no choice but to change.
THE 30S
THE 40S
THE 50S +
Your thirties are the time to up the ante, especially in terms of preventative skincare. The skin is definitely not what it used to be, and your routine should consist of prevention and bolstering the skin’s barrier to correct any present signs of ageing. Active ingredients need to become your best friend, so look at adding free-radical-fighting antioxidants, such as vitamin C, that not only protect against photo-ageing, but also brighten the complexion. “One should start evaluating products particularly designed for anti-ageing. Products that contain a low to medium amount of retinol and hyaluronic acid are most definitely a must for daily use. Also, don’t forget to make your appointment for a glycolicacid peel at least once a month for a more effective way to remove dead skin cells and to facilitate more collagen production,” Pretorius says.
Your forties are the time to enlist the help of professional treatments — if you haven’t already. Facials no longer serve as just pampering, but now need to become treatments that incorporate non-invasive additions, such as peels, laser, and LEDlight treatments to fortify your routine, as well as optimise the effect of your products. Pretorius suggests: “You should definitely be disciplined with an optimal skincare regime in your 40s. Products with higher concentrations of vitamin C, retinol, and most definitely a daily use of hyaluronic acid are critical. My recommendation is that you use both a serum and a moisturiser in the morning, as well as in the evening. In your 40s, layering products is important, as well as frequent visits for chemical peels and micro-needling sessions with your skincare professional at least once a month. This will facilitate optimal skin health.”
Your fifties should be all about maintenance. Though the skin is losing elasticity and ageing every year, this doesn’t have to be a stress point for you. As long as you have a good skincare routine that protects the skin from external ageing factors, strengthens the barrier, and keeps hydration levels up, your ageing process from now onwards can be nothing short of graceful. Pretorius says: “The process of ‘elastosis’ or deep wrinkles starts to kick in prominently from your 50s. A daily dose of a concentrated retinol serum and moisturiser will prevent and reduce deep-wrinkle formation. Applying a hyaluronic-acid serum daily will ensure that the elasticity of the skin is improved, the size of pores reduced, and optimal skin densification achieved. My recommendation is to go for combined chemical peels and micro-needling sessions at least once a month.”
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DERMALOGICA OVERNIGHT R E T I N O L R E PA I R 1% AND BUFFER CREAM, 25ML, R1 695
2 CLARINS DOUBLE SERUM COMPLETE AGE CONTROL CONCENTRATE, 50ML, R1 190
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3 EXUVIANCE AF VITAMIN C20 SERUM CAPSULES, R1 170
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OLAY EYES ULTIMATE EYE CREAM, 15ML, R295
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NIVEA HYALURON CELLULAR FILLER + FIRMING ANTI-AGE DAY CREAM SPF 15, 50ML, R250
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DIOR CAPTURE YOUTH LIFT SCULPTOR SERUM, 30ML, R1 570
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CHANEL BLUE SERUM EYE REVITALIZING CONCENTRATE, 15ML, R1 180
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SIX THE SIXTH INTELLIGENCE, 50ML, R693 2
4 NIKEL ANTI-WRINKLE ELIXIR, 15ML, R689
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5 BIOLOGIQUE RECHERCHE FIRMING SERUM F O R FAC E , 30ML, R2009,* AVAILABLE AT THE FOUR SEASONS W E S TC L I F F S PA
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1 LA MER THE REVITALIZING HYDRATING SERUM, 30ML, R2 750
2 NEOSTRATA SKIN ACTIVE TRIPLE FIRMING NECK CREAM, 80G, R986
3 NEOSTRATA SKIN ACTIVE RETINOL + NAG COMPLEX, 30ML, R1 565
4 LA PRAIRIE SKIN CAVIAR ABSOLUTE FILLER, 60ML, R9 650
5 SISLEYA L’ I N T E G R A L E Y E & LIP CONTOUR CREAM, R2 650
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TESTE R : Aspasia Karras, publisher TR E ATMENT: Hifu S ALON: Laserderm, Parkhurst,
beauty TE X T Nokubonga Thusi
Ingrid du Plessis, 072 749 5729/ wellness@laserderm.co.za COST: About R6 000 per area. The number of sessions depends on the severity of the areas to be treated. THE TR EATMEN T: Hifu (high-intensity, focused ultra
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-sound) is a complete breakthrough in ultrasound laser technology. The older version of ultrasound hurt like the devil; this technology delivers the same results without the pain. The idea is to deliver focused ultrasound to the deeper layers of your skin, stimulating collagen production. The therapist preps your skin with a gel in the areas to be treated and then very quickly and non-invasively passes the ultrasound head over the area. By targeting various layers of your skin — the superficial muscular aponeurotic system, the deep dermis, and the subcutaneous tissue — the ultrasound laser creates small heat lesions that stimulate collagen and elasticity. It can be used on all areas of the body that have become crêpe-like or saggy, either through the ageing process or weight loss. Think jowls, saggy knees, and post-pregnancy tummies. THE VE R D ICT: Aspasia says: “Wow — this is a seriously effective treatment with visible results and no downsides. You don’t have to apply anaesthesia or take sedation, which is a great time saver, as well as an incentive for those who fear the pain. There is an immediate plumping effect, but the best results are seen over a three- to six-month period as the woundhealing response stimulates long-term regeneration.” TESTE R : Sharon Becker, Editor TR E ATMENT: Micro-needling S ALON: Laser Beautique, Rosebank,
011 447 7812 COST: R1 650 for full face with pen; 60 minutes THE
TR E ATMEN T: Micro-needling is a pain-free treatment that is ideal for skin tightening, natural collagen production, lifting and rejuvenating, pore minimising, and reducing fine lines and wrinkles. First, an anaesthetic cream is applied to the face 30 minutes before the treatment, then a pen containing multiple needles is moved across the face for 10 minutes, giving off a vibrating sensation while working serums into the face. Lastly, a mask is applied. THE VE R D ICT: Sharon says: “My skin felt tight for two days and after three days there was slight peeling. I noticed that my pigmentation and pore size was reduced, and my skin looked brighter. I would recommend this as a great way to renew the skin, although not wearing makeup for two days afterwards made the downtime a bit tricky.”
T rie d an d te ste d
T EST ER : Nokubonga Thusi, beauty editor T R EAT M EN T: Omnilux light therapy S A LO N : Melrose Aesthetic Centre,
011 214 9940 CO ST: R750 for 20 minutes T H E T R EAT M EN T: Omnilux light therapy is a great maintenance treatment that uses red and blue LED light for stimulating collagen production, assisting with post-invasive treatment healing and acne-prone skin. The Omnilux can be used alone to give the skin a healthy glow and boost collagen, or it can be used in combination with other treatments such as peels, micro-needling, or laser to speed up healing, regulate inflammation, and prevent hyperpigmentation. The face is first cleansed of
all makeup, and then the eyes are covered with cotton swabs and lightweight metal goggles to protect them, as the light is extremely bright. The face is left under the Omnilux LED light panel for 20 minutes before the light is switched off and the skin is moisturised. THE V E R D ICT: Nokubonga says: “There is no pain during this treatment at all. In fact, the overall experience was quite relaxing: it’s basically a 20-minute nap while your skin gets rejuvenated. Talk about beauty sleep. The only discomfort is adjusting to how strong the LED light is when it is switched on. Even though your eyes are covered and there is no danger of damage to your vision, you undergo a strange sensation and feel as if you are staring directly at the light panel and submerged in a sea of red or blue light. Although the therapist is there talking you through the process and providing comfort, I would not recommend this for anyone who is claustrophobic or extremely anxious, as the sensation can cause you to panic. Immediately after the treatment, my skin felt softer and looked quite luminous, with the luminosity lasting for about two days.” TESTE R : Kath Kesselaar, digital editor TR E ATMENT: Illumination LED Face Mask S ALON: Medi-sculpt, 0861 003 007 COST: R1 000 per session (45 minutes),
PHOTOGRAPHY ELENA IV-SKAYA
including the scan, LED mask, and cleanse. The mask-only is 20 minutes. THE TR E ATMEN T: The LED face mask is a quick, non-invasive, and targeted facial, and ideal for tackling three areas of concern: ageing, acne, and skin rejuvenation. When the red light is used, the skin can be stimulated to increase collagen synthesis, healing, help reduce fine lines and wrinkles, and increase hydration naturally. The blue-light setting helps to reduce breakouts, calm redness, and regulate sebum production, while the purple light targets multiple skin conditions THE V E R D ICT: Kath says: “If it is your first visit, you receive a detailed skin scan followed by a three-step cleanse. The LED mask was then applied and I received the Rejuvenation mode for 20 minutes. This was a combination of red, blue, and purple light and a release of oxygen from the mask. The skin scan and pre-cleanse were lovely. The actual LED mask treatment was slightly uncomfortable, as the mask is heavy and would sometimes shift into an awkward position. Afterwards, my skin felt lighter, refreshed, and looked plump. The more sessions you go for, the better the results, but for a once-off treatment, my skin looked renewed and radiant.” TESTE R : Leana Schoeman, décor director TR E ATMENT: Cinderella Facial S ALON: Laser Beautique, Rosebank,
011 447 7812 COST: R1 000 for 60 minutes
Our team tested some of the latest age-defying professional treatments. Here’s our little black book of the best treatments for skin tightening, collagen synthesis, rejuvenation, texture refinement, and that all-important glow
T H E T R EAT M EN T: The Cinderella facial is a combination treatment that uses near infrared therapy to stimulate collagen production within the skin and create a lasting, youthful glow. The treatment starts with cleansing the skin, followed by deep exfoliation, and then oil is massaged into the skin to warm up the surface, which needs to reach 39°C for optimum results when applying the infrared device. The device is then glided across one half of the face for 15 minutes to keep the heat regulated and avoid burning. This is then followed by a variety of masks to target specific skin concerns, while you receive a massage around the neck and shoulders. T H E V ER D IC T: Leana says: “The infrared device was quite clunky and badly designed, which made the usage on my face quite uncomfortable, but manageable when you focus on the benefits of the healing infrared light it emits. The warmth was well managed by my skilled therapist and turned down seconds before becoming too uncomfortable. My skin felt super soft, firm, and plump with a soft and youthful glow. There was no lasting redness and no downtime whatsoever. I loved it and would recommend it to those preparing for a special occasion.” T EST ER : Aspasia Karras, publisher T R EAT M EN T: Or-Light SPL laser S A LO N : Anti-aging Art, 011 483 0881 CO ST: R1 900 for 30 minutes T H E T R EAT M EN T: The Or-Light laser is the ultimate
lunch-time treatment. In 20 minutes, your skin looks instantly refreshed. If you book a series of treatments you will see great improvement on fine lines, pigmentation, and general youthfulness. The square pulsed light (SPL) laser works by releasing light in a broad spectrum and a wide range of wave lengths, so there is less chance of burning the skin. The SPL laser is excellent for rejuvenation, skin plumping, pigmentation, and hair removal. It is also very useful around the sensitive eye area, because it can work much closer to the eye than most other treatments. Once the skin is clean, the therapist applies a conductive gel to the areas you want treated, and, after the flashes, wipes the gel off and applies a sun block. T H E V ER D IC T: Aspasia says: “This is as close to pain-free as possible. The integrated power meter on the laser machine enables the therapist to adjust the power for every single shot, so that a comfortable level can be determined for the user. Your skin may be slightly flushed after the treatment, but there is an instant difference in texture and tone, which also improves over time. Fine lines, puffiness, and pore size are all visibly improved, and collagen production is stimulated over time. This is an ideal treatment if you are in a hurry and want a pain-free solution to a fresh complexion.”
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a life illustrated
TE X T Nothemba M khondo
I LLUSTR ATI ON S L’mri Erasmus
What is the last item you bought and loved? Le Labo — Santal 33 fragrance.
What’s a new thing you’ve done this year? I directed a short film/visual album. To see my vision through from start to finish in all aspects was terrifyingly exhilarating.
Describe your favourite item in your wardrobe. An Issey Miyake two-piece suit. It strikes the perfect balance between power and grace.
a life illustrated As one half of the inimitable Noirwave, Rochelle Nembhard, aka “Rharha”, is making waves as a creative director and curator in fashion, music, and beyond
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When did you fall in love with the arts? When I was five, my mom took me to my first museum. I remember seeing the paintings on the wall and melting into a fantasy world that I wanted to live in forever.
What’s the first thing you do in the morning? Pray and meditate.
Name a book that’s had a lasting impact on you? Walk through walls by Marina Abramovic has been my go-to read this year.
If you could collaborate with anyone, living or dead, who would it be? Ma Anand Sheela. She is a visionary powerhouse that I could effectively build a nation with.
What is your favourite film? Hero, directed by Zhang Yimou, is my favourite film at the moment. His use of colour symbolism throughout the film to convey the narrative is simply arresting.
What is your secret talent? Manifestation.
Raise a glass to every exceptional moment in your life Great moments are made more memorable by exceptional wine. Boschendal Chardonnay Pinot Noir is crafted with great care using the two classic grape varieties of traditional MĂŠthod Cap Classique. Making it an incredibly sophisticated crisp, pale blush wine with outstanding finesse and elegance. Perfectly crowning every occasion.
Enjoy Responsibly. Not for Sale to Persons Under the Age of 18.
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