Sunday Times The Edit Living Volume 2

LIVING

“There is only one responsibility — beauty. There is only one reality — a dream.

There is only one strength — love.” Armi Ratia, Marimekko

VOLUME 2

I M A G I N E

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ROOM TO FLOURISH CURATE YOUR SUMMER SPACE Bold colours, natural textures and vases full of florals, summer is about celebrating the best of nature in your home. See your style flourish with furniture and homeware from @home.

Edit Living - October 2018.indd 2-3

SHOP IN-STORE OR ONLINE WWW.HOME.CO.ZA

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2018-09-26 09:04:47 AM

editor’s WORDS AND MOODS SEPTEMBER 2018 a small curation of thoughts and found objects...

Pinterest: L E A N A |

hello I am always astounded at how things tend to work out perfectly when you decide to let go and trust the process (and the team) and this issue has been all about that.

Another essential element that made this journey special is the incredible work our contributors have produced, covering topics from beautiful prints, to Mexican design heroes, to an amazing Joburg house. I hope you enjoy this special edition as much as we do!

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SHOPPING Our favourite finds

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CONTENTS HOME SEWN When interior design meets fashion

religious community influenced modern design

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THE SHAKERS How the small

MADE IN MEXICO The 2018 World Design Capital

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ARCHITECTURE

2 3 KINGS OF PRINT The most iconic fabric designs 2 6 MEET THE MAKER Skinny laMinx 2 8 ART TALK Haroon Gunn-Salie

AND INTERIORS Architect Gregory Katz’s family home

COVE R C RE D I T S Marimekko Unikko print

LIVING

“There is only one responsibility — beauty. There is only one reality — a dream.

There is only one strength — love.” Armi Ratia, Marimekko

VOLUME 2

E D I TOR I AL EDITOR Leana Schoeman leanas@tisoblackstar.co.za CREATIVE DIRECTOR Anna Lineveldt MANAGING EDITOR Matthew McClure SENIOR DESIGNER Thembekile Vokwana DESIGNER & PICTURE EDITOR Athi Conjwa CHIEF SUBEDITOR Theresa Mallinson DESIGN INTERN Refiloe Pholo FINAL EYES Karin Mosselson and Elizabeth Sleith PUBLISHER Aspasia Karras GENERAL MANAGER: GROUP SALES AND MARKETING Reardon Sanderson MANAGING DIRECTOR Andrew Gill ADVERTISIN G 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 (Western Cape) pienaars@tisoblackstar.co.za 082 889 0366; Gina van de Wall (Durban) vdwallg@ tisoblackstar.co.za, 083 500 5325 ADVERTISING CO-ORDINATOR Jamie Kinnear P R I NT I NG Hirt & Carter 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 Living 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.

www.blockandchisel.co.za

SHOP P

news COMPLI E D BY Lea na Schoeman

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A selection of our favourite objects to inspire updates and additions throughout your home

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1 Gold and black planter stand, 58cm, R499; round rattan side table R899; Jonathan occasional chair, R5 999; large gold and black planter stand, 74cm, 2 Moooi Bart swivel chair, R115 300, weylandts.co.za 3 Arabesque scatter cushion, R695, weylandts.co.za 4 Mandola armchair,

R699, all home.co.za

P PING FINDS

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5 Thandi basket, R595, blockandchisel.co.za 6 Sedgewick modular sofa, from R3 899, coricraft.co.za 7 Starmore Brown bookcase, 8 Jesse lantern, R449, coricraft.co.za 9 Teal velvet stool, R600, mrpricehome.com 10 Divano corner lounge set, R33 990, patiowarehouse.co.za 11 Country Road Marli beach umbrella, R1 799, woolworths.co.za 12 Bamboo basket, from R249, home.co.za

R3 995, blockandchisel.co.za

R6 990, ashleyfurniturehomestores.co.za

Laduma Ngxokolo, best known for the Xhosainspired knitwear under his MaXhosa by Laduma label, agrees that “fashion is a conversation, an idea to be put forward”. Ngxokolo designed two rugs in collaboration with Swedish company Ikea, to be released in 2019, and he says his textiledesign background allows him to view fabric as a traditional accessory that communicates culture.

Ikea designer Mikael Axelsson, who worked with Ngxokolo, explains that collaboration with experts is crucial to translating fashion design into home furnishing, so that scale, functionality, material, and construction are all well considered.

Ngxokolo agrees that working with an experienced homeware designer aided him in making his rugs marketable and relatable to a European lifestyle, while still displaying an African narrative through expressive colour and pattern.

Another colour devotee, Nicholas Coutts, who specialises in hand-woven textiles, also fell under McGowan’s wing. “It’s an avenue I’ve wanted to explore for some time,” says the fashion designer, who produced a chaise longue for Southern Guild’s recent Colour Field exhibition. “Fashion and

HOME S EWN

Furniture and accessories get their supermodel moment, as fashion designers take on homeware translates so well into upholstery,” he says. The thick top-stitching Mnisi employed on his chaise is the same technique he uses when constructing a denim jacket. “Both approaches require you to think of form, colour, and fabric,” says the designer, whose 2018 Nwa-Mulamula fashion range found its voice in leather-clad seating that continues a tale about his grandmother’s teachings.

furniture are forms of lifestyle that complement one other, linked to a person’s personality and the way they do life,” he says. Coutts adds that the scale of furniture pieces means more time spent producing a hand-woven item such as his.

McGowan believes the hours dedicated to furniture-making are worthwhile, based on the longevity of homeware versus the seasonal switch-

over of fashion, and sees this as a drawcard for more fashion designers to delve into furniture design in future.

Mnisi, who’s currently working on a collection of smaller homeware pieces, agrees. “Fashion is way faster, and you always have to consider the wearability of the clothing. Furniture design allows you time to slow down and be more creative,” he says.

PHOTOGRAPHY LADUMA: INTER IKEA SYSTEMS; RICH MNISI AND NICOLAS COUTTS: HAYDEN PHIPPS/SOUTHERN GUILD

R I C H M NI SI

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TE X T Tracy Lynn Chemal y

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his year has seen three young fashion designers turn their hands to homeware, a move that has prompted a closer look at the link between the two disciplines. “Because of the pressure fashion designers work under, they are agile in their thinking,” says Julian McGowan, co-founder of design gallery Southern Guild. This is why he recently chose to work with two such creatives to produce collectible furniture pieces.

Rich Mnisi, known for his fluid apparel forms, was guided by McGowan to produce a chaise longue and stool, whose second edition will make their international debut at New York’s Salon Art + Design fair in November. “Because fashion is seasonal, its designers have to create narratives linked to every collection,” McGowan says. “Being able to translate this into limited-edition art furniture is often a catalyst to great work.”

McGowan points to Mnisi’s tailoring background as another aid in his crossover. “Rich’s ability to construct fabric according to bodily form

NI CH O L A S CO U T T S

design

THE ACCIDENTAL STYLE MAKERS

How a small religious community hailing from Maine shaped the development of modern design

S PINDL E B ACK DINE R S , H OUTL A NDER

R O DA N CO FFE E TA BL E , P I NC H

Sha ke rs

BENCH, THE SHAKER

M A RG H E RI TA C H A I R, P I E RO L I S S O NI , D E PA D OVA

C A RV E R B E NC H , H O U T L A ND E R

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B U NK, G RE G O R JE NKI N

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ou’ve probably heard of The Shakers, but you might not know that they unintentionally became the frontrunners of modern design. This religious sect, started by Ann Lee in England in the mid-18th century, moved to colonial America, where members lived a life that hinged on devotion to God, work, pacifism, and respect for nature.

The Shakers were master craftsmen, whose work was rigorous and honest.

“Hands to work and hearts to God,” was Mother Ann’s belief, as was the notion that making was an act of prayer. Cleanliness next to godliness, and functionality before beauty were principles that led the Shakers to create and invent a number of solutions for living that were utilitarian, pure in form, and downright clever.

Beds were designed on wheels so that they could be pulled away from the walls to sweep. Peg rails were a ubiquitous feature on the walls of Shaker homes: they were used to hang up everything from coats and utensils to chairs, keeping the floors free and the room tidy. Ladder-back chairs were a natural favourite, for their hanging utility.

The Shakers celebrated nature and natural materials.

They believed wood was a gift from God, and they mastered the art of woodworking, leaving nearly everything they made unpainted, with expertly crafted, visible joints.

Original Shaker designs show the clean lines, sobriety, and absence of frivolity favoured by the mid-20th century modernists. They influenced the work of Kaare Klint, Børge Mogensen, Hans J Wegner, George Nelson, and Gio Ponti, among others. “The Shakers, whose design ethos was one of simplicity, utility, honesty, and craftsmanship, essentially inspired the modernist designers to create what we now know as modern design: design that eliminates clutter, reduces unnecessary decorative noise, and celebrates the essence of less is more,” says Julia Day of Generation, stockists of de Padova’s iconic furniture pieces.

T H E Q U E E NS PA RK KI TCH E N, D E VO L

TE X T Mi l a Crewe-Brown

BENCH, THE SHAKER

CANDLE STAND, THE SHAKER RETIRING ROOM

design

Maddalena De Padova, founder of de Padova, fell in love with Shaker craft in the 1980s. This passion resulted in the 1984 exhibition of Shaker furniture at the de Padova showroom in Milan, with an installation designed by Achille Castiglioni. In the Shakers, Maddelena De Padova discovered a discreteness that spoke to her own design tastes, and, subsequently, those of the de Padova brand.

Today, the parallels between the craft of the Shakers and our own zest for design that is clean, understated, and useful are clear. Designer Russell Pinch’s minimalist Rodan Coffee Table nods to one of the Shakers’ poetic joinery details, the swallowtail, which was borrowed from their storage boxes.

Here at home, designers such as Houtlander — the wooden furniture brand that has us all abuzz for its Scandi-esque aesthetic — embrace the principles that the Shakers laid out more than 300 years ago. And maker and metal whisperer Gregor Jenkin derived much of his inspiration from the Shakers, as can be seen in Bunk, a bed with a Shakeresque slatted, metal frame.

Even kitchens have fallen under the spell of the Shakers: simple, framed-timber cabinets with recessed panels and utilitarian handles grace classic and contemporary country kitchens, such as those of British brand Devol, to this day.

With only two members left of the last Shaker community (due to their vows of celibacy), the religion and its champions are dwindling, but the unintentional contribution to design of these premodernists will remain with us forever.

Design TE X T Tracy Lynn Chemal y

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his month sees the culmination of Mexico City’s designation as World Design Capital 2018, as it hosts its annual Design Week Mexico, taking place in locations around the city from 10 to 14 October.

Design Week celebrates its 10th anniversary this year, but design has existed for centuries in this historically rich country, playing an integral cultural role in the life of its consecutive civilisations.

This is evident in the decorative stonework of ancient Olmec, Zapotec, Mayan, and Aztec sites, and in their inhabitants’ hand-crafted burial offerings made from jade, shells, obsidian, and volcanic rock. The Spanish conquistadors were equally ambitious in their aesthetic will, introducing

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beautifully painted ceramic tiles, delicate glass objects, and new ways of working with metal.

Modern-day artisans remain proud of such age-old crafts. “Mexico’s pre-Hispanic design tradition offers a wide range of inspiration for the designers of today,” says Emilio Cabrero, director of Design Week Mexico, adding that Design Week has been empowering collaboration between designers and artisans by linking contemporary design, traditional crafts, and ancient heritage to develop a new approach to design.

Frida Kahlo-esque handwoven huipils (traditional garments), carved wooden kitchen utensils, and intricately painted crockery are still hugely sought-after in neighbourhood markets,

but it’s the contemporary interpretations of Mexican design that are now putting the country on the 21st-century design-destination hot list.

This is nowhere more apparent than in the capital’s cosmopolitan neighbourhoods of Polanco, Roma Norte, and Condesa, where luxury concept stores, design bazaars, and popup shops are being added to residents’ weekend itineraries. Modern graphics on hand-stitched cushions, tableware in neon colours, leather-clad ottomans, and multi-form clay candelabras are equally comfortable in Mexican homes as they are in international settings.

“Mexican design has no borders,” Cabrero smiles. designweekmexico.com

MADE IN MEXICO

STUDIOROCA O n e of t he co u ntry’s top interior a rchi t e ct u re fi rms, Stud ioroca, is also t he p rod u ce r of st a nd-out pieces of furniture, su ch a s t h i s ni ght stand desig ned by fou nd e rs Ca rl o s Acosta and Rodrig o Aleg re, p a rt o f i t s e co l ine of sustainable wooden p i e ce s t h a t a re free of varnish. Over15 ye a rs, t he st u d i o has become a leader i n Mex i ca n d e si g n, and its boot h at t he b i - a nn u a l Zo n a Maco art-and-desig n fair a vi si t or h i gh l i g ht. In 2016 it launched Uni on - , a p l a t form t hat promotes young Mex i ca n t a l e nt , and has helped push t he ca re e rs o f m ore t han 20 local desig ners wh i l e su p p ort i ng t hem wit h retail and p rod u ct d e ve l opment. stu d io ro ca.co m

N O U V E L S T U D I O N o uv el Stud i o i s t h e f o rerunne r i n h i gh -en d M exi c a n gl a s s o b j ets . Its tea m o f s k i l l ed c ra f t sm e n p us h t h e med i um to n ew f ro n t i ers , w h i l e i n v i t i n g l ea d ing a rc h i tec ts a n d d es i gn ers f ro m M exi c o a n d t h e w o rl d to c o l l a b o ra te o n p i ec es . Th i s h a s l ed to N o uv el Li mi ted , t he c o mp a n y ’s l i mi ted -ed i t i o n en t i ty , w h i c h t h i s y ea r p a rt i ci p a t e d i n Des i gn M i a mi /B a s el f o r t h e f i rs t t i me. Prec a ri o us , a c o l l a b o ra t i v e c o l l ec t i o n b y N o uv el a n d ren o w n ed M exi c a n d es i gn ers H éc to r E s ra w e a n d E mi l i a n o Go d o y , a n d rec e nt U S i mp o rt to M exi c o B ri a n Th o reen , i s a s h o w o f ri s ky , l a rg e s c a l e p i ec es t h a t c o n tra s t h a n d -b l o w n gl a s s w i t h b ra s s a nd s teel i n a d el i c a te b a l a n c e o f ma teri a l s . n ouv elst ud io. c o m

BI YUU Text i l e d es i gn er M a ri s o l Cen ten o h a s turn ed t ra d i t i ona l r u g d e si g n on i t s he a d , c o mb i n i n g i n n o v a t i v e f o rms w i t h s o c i a l l y res p onsi b l e p rod u ct i on t e chni q u e s a n d exp eri men ts i n n a tura l p i gmen t. Sh e w o rks w i t h na t u re ’s i ng re d i e nt s, su ch a s c o c h i n ea l , i n d i go, M exi c a n ta rra go n a n d h o ne y su ckl e , m a r u sh, w a l nu t , a nd p o megra n a te, w h i c h res ul ts i n a p ro l i f era t i o n of col ou r s, a nd u se s hi g h- q u a l i t y l o c a l Li n c o l n w o o l i n s up p o rt o f rura l ec o -s y s t e m s. For Ce nt e no, t he p roce ss i s a s i mp o rta n t a s t h e f i n i s h ed p ro d uc t, a n d h er re l a t i onshi p s w i t h a r t i sa ns i n p l a c e s s u c h a s Te o t i t l á n d e l Va l l e , O a x a c a , a n d H u i x t á n e n s u r e a m e a n i n g f u l exc h a n ge o f k n o w l ed ge a n d exp ert i s e b etw ee n com m u ni t y d e si g ne r s a nd B i Yuu’s M exi c o Ci ty s tud i o. b i y uu. mx

AY R E S A y re s, f ou nd e d b y i nd u st r i a l d e si g ne r J oa na Va l d é z a nd t ex t i l e d e si g ne r Ka r i m Mol i na , p rod u ce s i t e m s i nsp i re d b y Mex i co’s p re - Hi sp a ni c cu l t u re a nd i t s f u nct i ona l t ool s. Ea ch u t e nsi l or i t e m of crocke r y re f l e ct s t he se i nf l u e nce s i n a cont e m p ora r y w a y , a nd m a i nt a i ns a b a re - b one s m i ni m a l i sm . The se u t i l i t a r i a n ob j e ct s, b or n of nost a l g i a , ha r k b a ck t o p r i m i t i ve a ssoci a t i ons w i t h d i ni ng , w hi l e a l so b e a r i ng t he m a r k of m od e r n t a b l e w a re . Eve r y p i e ce i s com p l e t e l y ha nd m a d e , u si ng na t u ra l m a t e r i a l s su ch a s Tz a l á m w ood , vol ca ni c st one s, l e a t he r a nd m a r b l e , a l l m a nu f a ct u re d b y ski l l e d cra f t sp e op l e f rom d i f f e re nt regions of Mexico. ayresmx.com

2018’s World Design Capital city celebrates both traditional and contemporary creations C O M I T É D E P R O Y E C T O S Th i s i n teri o r-d es i gn s tud i o, f o un d ed b y f ri en d s Andrea Flore s a n d Luc í a So to, l a un c h ed i ts f i rs t l i n e o f f urn i ture tw o y ea rs a go.

Its Calaca ar mc h a i r f o rms p a rt o f a c o l l ec t i o n t h a t b l urs t h e l i n e b etw een exteri o r and interior, i n t h e s a me w a y t h a t n a ture i n v a d es p ri v a te s p a c es — f o r exa mp l e, a s i n o v e r g r o w n r u i n s . T h i s t i n t e d r a t t a n a n d H u a n a c a x t l e w o o d a r m c h a i r, manufactured by artisans in Mexico City, was inspired by a representation of Quetzalcóat l , t h e M es o a meri c a n d ei ty o f w i n d a n d w i s d o m. Th e d es i gn ers to o k their visual cue from a temple carving of this crowned, feathered serpent seen in Te o t i h ua c a n , t he nat ional s i te o f o n e o f M es o a meri c a’s mo s t a rc h i tec tura l l y s i gn i f i c a n t p y ra mi d s . co mitedeproy ect os. mx

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house

TE X T Al exa nder Op p er

PR ODUCTI ON Sven Al b erd i ng

PH OTOGR APH Y Greg Cox

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BOXING CLEVER

A close-up of the Katz’s eclectic art collection, lovingly assembled over many years. The artworks accompany one as one moves from the open plan living area below onto the split level, where the kids have their own lounge

O PP O SI T E PAG E

A view from the home’s wrap-around stoep to the shingle-clad studio and the leafy public park beyond

MIDDLE

From the upper floor landing we look back at the Gio Ponti-inspired seamless vinyl floor, which unites the whole of the ground floor plane.

At first-floor level, the finish transitions to soft wall-to-wall carpeting. The screen-wall is a device that Katz has used on numerous occasions

T HIS PAGE

Architect Gregory Katz reinterprets Le Corbusier’s famous Dom-Ino as a 21st century Johannesburg version of a machine for living in

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A view from the entrance to Caryn’s ground-floor studio, looking back at the eastern façade of the home. The concrete frame supports the building’s loads and the brickwork acts as an expressive infill

T HIS PAGE

The formal dining area, crowned by an elegant Flos feature lamp, leads onto the less formal stoep, a mediating space between the the house and the garden

MIDDLE

The view from the open-plan lounge and dining zone back to the generous kitchen. The kitchen-island acts as a strong communal hub for the Katz family To the left we see the home’s central fireplace.

“A R T I S T I C U S E O F B R I C K W O R K IS SYNCHRONOUS WITH A G LO B A L T E N D E N C Y T O R E V I S I T THE EVOCATIVE POTENTIAL OF BRICK, ONE OF THE OLDEST NATURAL BUILDING MATERIALS AVAILABLE”

openings. Katz’s affinity for concrete was honed more than a decade ago in the family’s first purpose-built house. Three kids later, this home is softer and more nuanced than its predecessor.

The house sits in the lineage of structural concrete-frame potential that Le Corbusier stimulated more than a century ago, with the 1914 launch of his famous Dom-Ino concrete frame.

Katz is always searching for fresh uses for existing materials and he came upon an unusual decommissioned bevelled brick.

He used its sill-like character in a playful way for the home’s nonload-bearing walls. The result echoes the beautifully textured nature of the brick infill façades of a bygone Johannesburg era.

Katz’s artistic use of brickwork is also synchronous with a global tendency to revisit the evocative potential of brick.

The use of brickwork in the house, even though precise and controlled, is playful. The bevelled brick is turned this way and that, accomplishing a crisp, pleated texture, lending the home’s façades a fabric-like quality.

When one crosses the threshold into the Katz’s home, the no-nonsense aesthetic of the far-spanning “parking lot” ceilings is reflected in the choice of flooring. A seamless vinyl surface of a bold and dynamic chevron of blues and greys “pulls” one into the dwelling. The selection of this material was informed by Katz’s use of vinyl’s lively possibilities in his 2016 King David Pre-Primary School project.

As one moves from the open kitchen, with a generous scullery tucked in behind it, one is drawn diagonally across the living and dining area. This area has strong ties to the garden through large sliding doors and via the transitional space of a roofed wraparound stoep. A generous fireplace serves as a pivot for the home’s spatial organisation. At the end of our easy diagonal movement we encounter a level change of five steps. These take us smoothly up to a dedicated play area for the Katz kids and their friends.

From the kids’ level the beautifully raw, hammered texture of a concrete staircase guides us up to the more intimate level of the home. On the upper floor, the finish changes to plush carpeting.

Here, the pyjama lounge is the spatial knuckle that connects all upstairs spaces to one another. Two en-suite bathrooms have been inserted between two pairs of bedrooms respectively. The fifth bedroom, Greg and Caryn’s, with its own bathroom, occupies the north-eastern corner.

From the upper floor we are reminded of the quiet presence of the houses “little brother”. This adjacent building, placed in the property’s south-eastern corner, houses Greg and Caryn’s work-spaces, respectively. The restrained, two-storey, lightweight-steel studio is fully clad in an asphalt-coloured shingle, a material traditionally used for roofing. This unlikely architectural skin results in a shimmering matte finish, requiring no maintenance over its lifespan.

As the summer day fades to twilight, a gentle descent deposits us into the expansive garden. Here a secondary set of utilities are all stitched together by the primary constituent of all of suburbia, the rolling green lawn. These include the ever-important braai, as well as an eccentric triangular swimming pool.

The absorbent nature of the unifying grassy surface is suited to the fact that the site is situated in the dip of a valley, close to a wetland. Equally importantly, the lawn’s blanket-like quality also presents an ideal stage upon which suburban life and all its attendant rituals can be celebrated and performed. gregorykatz.co.za

OP PO SI T E PAG E

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or architect Greg Katz, the design of several family homes in Johannesburg’s northern suburbs has served as a testing ground for his maturing practice. These projects demonstrate the innovative ways in which he tends to select and assemble the materials for his buildings. His own brand-new home represents the most recent example of this attitude.

At his home on a balmy late-summer afternoon, Katz relayed an uncommon aesthetic preference: “I love the raw, pared-down visual quality of generic parking garages.” There’s a wry irony in this statement, considering that he houses his family in a dwelling with “parking garage” ceilings, perfect for cars, but does not house his and his wife Caryn’s cars in the typically suburban garage.

The couple’s home commands a self-assured yet unassuming presence. Its street-facing façade presents a restrained palette of materials, colours, and textures. Concrete grey and the soft, pinkish red of its expressive brickwork inform the home’s overall character. A Mediterranean blue announces the slender front door and a punchy yellow emphasises carefully placed door and window

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TEXT ALEXAMDER OPPER PRODUCTION SV E N A LB E RDI NG PHOTOGRAPHY G R EG COX, AL L BU RE AUX . CO. Z A

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A broad ledge perfect for displaying items guides one towards the exposed concrete hammer-textured staircase to the upper floor.

OP PO SI T E PAG E

TEXT ALEXAMDER OPPER PRODUCTION SVE N AL BE RD I N G PHOTOGRAPHY G RE G COX , A LL BURE AU X . CO. Z A

In the main bedroom a low wall delineates the sleeping zone. Views of tree tops and broad Johannesburg skies help link inside and outside

M I D DL E T OP AND B OT TO M

“IT’S A FINE EXAMPLE OF THE VERSATILITY PERMITTED BY A CONCRETE SKELETON. THE HOUSE S I T S C O M F O R T A B LY I N T H E LINEAGE OF STRUCTURAL CONCRETE-FRAME POTENTIAL THAT LE CORBUSIER STIMULATED MORE THAN A CENTURY AGO” building occupies the south-eastern corner of the property. Downstairs it houses Caryn’s studio; ipstairs is where Greg and his small team work.

T OP RIGHT The modest two-storey studio

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A view from one of the two shared bathrooms, back into Charlie’s bedroom.

M ID D LE RIGH T

With the house and studio in the background, the couple admire the architect’s handiwork.

The triangular-shaped swimming pool wedges itself comfortably into a corner

BO T T O M RI G H T

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design TE X T Sarah Bui tenda ch

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KINGS (and a QUEEN) OF PRINTS The late 1860s to the 1950s were a halcyon period for fabric design. We round up some of the most iconic prints and design houses

design

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he y’ re t he g rand masters of t he fabric and wa l l p a p er w o rl d ; t h e c rea to rs o f etern a l l y f a s h i o n a b l e fa b ri cs t hat set t he tone of t he t imes. Their mas terp i ec es rema i n s ty l i s h , n o ma t ter h o w f a d ed t h ey b e co m e. And t hey always look t horoug hly modern , w h a tev er t h e s et t i n g. Sure, c l a s s i c f a b ri c s a n d wa l l p a p e rs a b ound, but here are five riotously decorated exa mp l es y o u n eed to k n o w a b o ut, c rea ted b y a grou p of Eu rop ean visionaries in t he late 19t h and early to mi d -2 0 t h c en tury . Th es e p ri n ts h a v e go t t h e l o o ks a n d t he p e d i gre e, and do wonderful ly when g iven a contemp o ra ry up d a te.

W I L L I A M M O R R I S Yo u mi gh t n o t h a v e p ut a n a me to i t, b ut y o u’ l l d ef i n i tel y h a v e s een W i l l i a m M o rri s ’ w o rk . Th i s text i l e d es i gn er p ut B ri t i s h f a b ri c s o n t h e ma p w i t h h i s n a ture-i n s p i red Arts a n d Cra f t c rea t i o n s .

M o rri s p ro d uc ed h un d red s o f f a b ri c a n d w a l l p a p er d es i gn ers i n h i s l i f et i me (mo s t l y i n t h e l a te 1 8 0 0 s ). Fa s h i o n b ra n d s , i n c l ud i n g Lo ew e, H o us e o f H a c k n ey , a n d J i gs a w Lo n d o n , h a v e c o l l a b o ra ted w i t h t h e M o rri s a rc h i v es to gi v e i ts c rea to r ’s w o rk n ew z es t i n rec en t y ea rs . W i l l i a m M o rri s f a b ri c s a n d w a l l p a p ers a re s t i l l p ro d uc ed b y M o rri s & Co a n d a re a v a i l a b l e l o c a l l y f ro m St Leger & Vi n ey . st le g er. co. z a

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LIBERTY

MORRIS&CO J O S E F F R A N K While messers L i b e rt y, B a ke r, and M orris were doing t heir t hi ng i n t he UK , across t he pond in Sweden, a n Au st ri a n a rchitect cal led Josef Frank was ch a ngi n g t h e Scand i desig n g ame. Frank fl e d t he Na zi s i n t he early 1930s, set t l ing i n Sw e d e n . The re he worked wit h E strid Eri cso n , t he o w ner of Scand i desig n store Sve n skt Te nn , t o develop a new style of d e si gn t e rme d Swed ish modern. He also cre a t e d fu rni t u re, but is best remembered fo r h i s j o yfu l , free, and fantast ical co l ou re d fa b ri cs, many inspired by flora a nd fa u na . Th e company has just released i nt e rp re t a t i o n s of Frank’s prints by young d e si gne rs su ch as Kotone Utsunomiya, so ch e ck t h o se out too. The fabrics are a va i l a b l e t o b u y from t he Svensk t Tenn o n l i n e st ore . s venskt tenn.se

L I B E R T Y N o t r i p t o Lond on w ou l d b e c o mp l et e w i t hou t a vi si t t o t he m ock Tu d or b ui l d i n g s of d e p a r t m e nt st ore , L i b e r t y — a n d to it s f a b r i c se ct i on sp e ci f i ca l l y . Thi s i s w h ere y ou ’ l l f i nd b ol t s a nd b ol t s of Li b erty Ta na L a w n cot t on; a m e sm e r i si ng s ea o f t i ny f l ora l p r i nt s a nd p a i sl e y s; a nd Arts a n d C ra f t s f i g u ra t i ve p a t t e r ns. Ma ny of t h em d at e b a ck t o t he e a r l y 2 0 t h ce nt u r y , w h en Ar t hu r L i b e r t y , t he com p a ny ’s f o un d er, d e ci d e d t o g o i nt o t ex t i l e s. L i b e r t y w o rks w i t h a l l ki nd s of f a shi on a nd d é cor b ra n d s on col l a b ora t i ons a nd a l so b r i ng s o ut c o nt e m p ora r y u p d a t e s of t he cot t ons s ea s o n al l y : t he ne w I nd i a n Col l e ct i on a n d Al pi ne Sy m p hony ra ng e s a re j u st t w o exa mp l e s. You ca n b u y ce r t a i n L i b e r t y f a b ri c s f rom A r t hu r Ba l e s i n J oha nne sb u rg . a rt h ur bal e s . c o. z a

JOSEF FRANK

A BRIEF HISTORY OF WILLIAM MORRIS, GP & J BAKER, LIBERTY, JOSEF FRANK, AND MARIMEKKO

18 61

1874

1875

1875

1884

William Morris founds Morris, Marshall, Faulkner & Co. The partners all belong to the PreRaphaelite group and are big on crafting.

After picking a fight with his business partners, Morris breaks away and sets up his own company, Morris & Co.

Liberty is founded by Arthur Liberty. Initially, the company sells rugs and furniture imported from the East.

Morris designs the iconic Acanthus wallpaper.

GP & J Baker founded.

1896

William Morris dies, but his company continues to produce new designs.

1933

1941

1951

Austrian Architect Josef Frank relocates to Sweden.

Josef Frank flees the war in Europe for New York. He continues to create fabric designs, including the aptly named Manhattan.

Marimekko is founded in Helsinki.

1920S

Liberty begins to produce fabrics decorated with small florals and prints.

These are called the “liberty prints”.

M A R I M E K K O J u m p f or w a rd a cou p l e d e ca d e s, a nd a f e m a l e S ca nd i na vi a n C EO t ook u p p ol e posi t i on i n t he w or l d of cot t ons and l i ne ns. He l si nki - b a se d A r m i Ra t i a f ou nd e d t he Ma r i m e kko b ra nd in 1 9 5 1 . D u r i ng he r re i g n, Ra t i a e nl i st e d a st re a m of t op d e si g ne r s t o cre a t e b ol d , si m p l e t ex t i l e s, and cl ot hi ng a nd hou se hol d g ood s f a shi one d f rom t he m . Ma r i m e kko prod u ct s q u i ckl y e a r ne d a l oy a l f ol l ow i ng , a nd , d e sp i t e t he com p a ny h a vi ng b e e n sol d a cou p l e of t i m e s si nce t he d oy e nne ’s d e a t h, t he y ’ re j u st a s i n d e m a nd t od a y .

Eve r y se a son Ma r i m e kko re l e a se s a c a p su l e of w ond e r f u l cont e m p ora r y n e w f a shi on, f a b r i cs, a nd hom e w a re — l a rg e l y com p r i si ng u p d a t e s of t he S w e d i sh com p a ny ’s or i g i na l m i d - ce nt u r y p i e ce s. You ca n o rd e r Ma r i m e kko p rod u ct s onl i ne . m ar im e k ko. c o m

GP& J BAKER

M A RIM E KKO

G P & J B A K E R Th i s i c o n i c B ri t i s h firm is k nown for its spec ta c ul a r b o ta n i c a l fabrics — many of t hem w i t h a s tro n g oriental flavour — no s urp ri s e w h en y o u delve a l it t le deeper into i ts h i s to ry . As t he name sug g ests, two b ro t h ers , Geo rge Percival and James, foun d ed GP & J B a ker i n 1884. Their fat her (also Geo rge) h a d desig ned t he Brit ish E mb a s s y ’s ga rd en s i n Turkey and t he brot hers i n i t i a l l y s ta rted out import ing Persian an d Turk i s h c a rp ets before turning t heir eyes to f a b ri c . Yo u’ l l see t heir reverence for f l o ra l w o rl d s a n d oriental desig n in fabrics s uc h a s H y d ra n gea Bird, desig ned in 1917 b y W i l l i a m Turn er.

It was rereleased last y ea r i n a ma rv el o us ochre colourway. Likew i s e, t h e 1 9 1 5 Turn ercreated N ympheus has n o w b een rep ri n ted i n g org eous watery blues, green s , a n d n eutra l s .

St Leg er & Viney stocks t h e b ra n d l o c a l l y . st leg er.co.za

1961

1967

1982

2018

2018

Jackie Kennedy wears a Marimekko frock on the cover of Sports Illustrated.

Josef Frank dies, aged 81.

GP & J Baker receives the royal warrant from Elizabeth II, the Queen of England.

GP & J Baker releases new interpretations of original Nympheus print as a wallpaper

Marimekko collaborates with cosmetic brand Clinique on a line of lipsticks and glosses.

25

meet the maker

TE X T Noreen Johnson

PR ODUCTI ON Sven Al berd i ng BELO W

MEET T HE MAK ER

Heather Moore at the Skinny laMinx store. The print she is holding is Roof Garden in Mumbai

HEATHER

MOORE

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We talk to the creative force behind Skinny laMinx, an innovative fabrics and design brand that is all about joyously patterned textiles in a range of retro-inspired colours

ABOVE

This spread from one of Moore’s workbooks demonstrates the way she works from an image that inspires her

S

tep into the Skinny laMinx store on Bree Street in Cape Town, and you’re transported into designer Heather Moore’s colourful, multipatterned world.

In one section, a cushion cover in a signature Skinny laMinx print such as Brancusi Stripe accessorises a chair upholstered in another linear

Moore design, called Weft. On the opposite side of the shop, a stack of drum lampshades in shades of mustard, bright green, and bold blue draws the eye. A wall display shows off Moore’s popular range of tea towels, while, nearby, tote bags in yet more colourful fabrics are on display.

From the fabrics in Moore’s signature shades — reminiscent,

as she says, of “colours I associate with a mid-century palette” — to the range of décor accessories, children’s clothing, and tableware, this place encapsulates the Skinny laMinx aesthetic. Playful yet considered, witty yet thoughtful, bright but not garish — this is the special realm that Moore has created via her unique take on pattern and colour.

Skinny laMinx is known across the world: the sales team maintains the brand’s own thriving e-commerce website, and Moore hosted its first international product-range launch in Paris in 2017. But, of course, this wasn’t always the case.

Back in 2006, when Moore created her Skinny laMinx blog and launched her Etsy store, selling vinyl cut-outs

In Moore’s studio, a vintage Swedish chair sits beneath a pinboard covered in creative experiments

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TEXT NOREEN JOHNSON PRODUCTION SVE N AL BE RD I N G PHOTOGRAPHY WA RR E N HE AT H, A LL BU RE AUX. CO.Z A

LEFT

made into fridge magnets and oneoff screen prints, her “day job” was writing for a series of comics. But as a lifelong “maker of things”, Moore says, “The internet made me very frustrated, because I could see into everyone’s studios, where they were making things, and I had such a strong urge to do the same.”

Between 2006 and 2008, Moore began to focus on creating screenprinted tea towels, which she sold at the Neighbourgoods market in Woodstock, and also marketed internationally via her Etsy storefront.

Quite quickly, those international orders became regular ones.

The positive feedback from both local and international customers convinced Moore that she really did have a viable business on her hands, and by 2009 she was able to give up her day job and devote herself to Skinny laMinx full-time. She also began to move beyond tea towels into designing fabrics for yardage —

The wicker chair is a flea-market find. The fabric swatches on the wall were created by Moore during a batik workshop on a recent trip to eSwatini

“ T H E I N T E R N E T M A D E M E V E R Y F R U S T R AT E D, B E C AU S E I CO U L D S E E I N TO E V E R YO N E ’ S S T U D I O S , WHERE THEY WERE MAKING THINGS, AND I HAD S U C H A S T R O N G U R G E TO D O T H E S A M E ” a rather different enterprise as it involves working out pattern repetitions across a larger area.

“I’m always making things,” Moore says. “There’s always something buzzing around in the background, whether it is colour collages or linocuts.” This hands-on approach to the design process is essential to the way Moore creates all her work. It’s why her paper cut-out of the ubiquitous Pincushion protea became a fabric called Pincushion.

And it’s why her work on objects in her ceramics class also, in time, became a fabric called Oddjects.

Moore’s experience of traditional block-printing techniques in Jaipur, India, inspired a print called Weft; and visual cues from architectural elements became repeat patterns called Aperture and Breeze.

It’s also why Moore references the importance of what she calls “Making Friday”. She invariably spends at least one day a week just

making things, on her own, in her studio. For long periods, she may not know whether the ceramics, paper dolls, or chair cut-outs that she’s creating are going to turn into fabric designs — and that lack of a set “design direction” is what results in genuine creative moments. “If you’re trying to see a star in the night sky,” she says, “you see it better if you look off to one side.”

At the end of 2011, the Skinny laMinx shop opened on Bree Street, which at that time was just on the cusp of becoming the hive of creative businesses and foodie enterprises that it is today.

In a recent blog post, Moore says her current aim is to go beyond a single “Making Friday” to spending a minimum of three days a week “building a strong line in my studio”.

The results are sure to bring yet more brilliant Skinny laMinx patterns to homes and interiors around the globe. skinnylaminx.com

H A RO O N GU NN-S A L I E SO FT V E NG E A NC E S E RI E S , 2 0 1 5

S E NZ E NI NA I NSTA L L AT I O N, FNB JO B U RG A RT FA I R 2 0 1 8

TE X T Jul i a Freema nt l e

C A L L TO AC T I ON Artist Haroon Gunn-

Salie translates community oral histories into collaborative artistic interventions and installations based on dialogue and exchange.

You may know him as the winner of the 2018 FNB Art Prize

strong local museums, we do not have the same kind of cultural centres that exist internationally — that have programs dedicated to socialactivist exhibitions, without necessitating sales mandates,” he says. For Gunn-Salie, the onus

is on galleries to support work with a greater social focus, as currently the limited access to independent avenues for funding the production and exhibition of alternative work hampers the growth of artists.

PHOTOGRAPHY COURTESY GOODMAN GALLERY

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ver the past four years, Gunn-Salie has divided his time between Brazil and South Africa, and also spent some time living and producing projects in the US, the Netherlands, and the UK. “Through the local and international institutional support and platforms I’ve had, I have been granted wider audiences, which in turn has allowed me to deepen the work and challenge more diverse issues in different contexts. My work has evolved over time as much as it has remained boldly true to its intentions,” he says.

Gunn-Salie’s politically and socially charged work, which explores unresolved issues in South Africa’s contemporary history, will be placed under a greater spotlight as a result of his recent accolade, making it accessible to a larger audience in South Africa. “The prize gives me a platform to reach local audiences with a project that until now has only been experienced internationally,” he says.

Goodman Gallery curator Justin Davy says that Gunn-Salie’s work is grounded in a sense of solidarity with the marginalised, the displaced, and the dispossessed. “His ability to tackle issues of historical consequence and open up space to engage difficult or unspoken issues has garnered him acclaim in all corners of the world,” Davy says.

Gunn-Salie’s use of art as a mode of communication transcending traditional language makes it a powerful vehicle for change and comment. “The ability of art to allow us to connect across cultural divides is most radical when viewers are included in the creative interpretation of the work itself,” Gunn-Salie says.

“The conversation that was facilitated between mine, Sue Williamson’s, and Billie Zangewa’s installations, for example, allowed visitors to immerse themselves in the works rather than being a passive audience.”

Senzenina – reflection space, Gunn-Salie’s dedicated exhibition at the 2018 FNB Joburg Art Fair, transported the viewer to a mineworkers’ site with an immersive visual and audio recreation.

Gunn-Salie’s upbringing in South Africa has undoubtedly shaped his narrative in a big way.

“The struggle continues: the fight for a better life is ongoing,” he says. “We all have a role to play to ensure that true liberation for all is realised.”

Gunn-Salie feels the art fair itself was well curated, but he despairs of a lack of social impetus from some of the galleries — an indication of a society in need of a shake-up. “Although we have

HA RO ON GUNN-S A L IE I N COL L A BOR ATION WITH JA M E S M ATTHE WS , A M ONGST M E N, 20 1 4

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art talk

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