FASHION E-ZINE | The Edit Man #8 by SundayTimesZA

FASHION

GROOMING

DRINKS

DESIGN

MOTORING

PURSUITS

OPINION

N 08

the edit man

IMAGINATION TAKES FLIGHT

FASHION

GROOMING

DRINKS

DESIGN

MOTORING

PURSUITS

ED’S NOTE

OPINION

N 08

E D I TO R S h a ron A rmst r o n g

the edit man

COAT, R 5 5 0 0 ; S U I T, R 1 0 0 0 0 , ALL EPHYMOL

EDITORIAL

* 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.

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K N I T, R1 999; TAI LO RE D TRACK SUI T B OTTO M S, R1 799; B AG CH ARM , R 3 9 9 9 (PART OF S ET ), ALL R IC H MNIS I; S NEAKER S , MODEL’S OWN

E D I TO R ’ S M U ST- H AV E S

Boss has cultivated a global following creating items echoing the house’s heritage of master tailoring and youthful design; both perfectly seen in this modern golf shirt.

G O L F S H I RT, R1 995, BOSS

The cornerstone of every man’s accessory arsenal, the backpack is seen in every variation – from Perspex to denim. We love Boss’ sleeker, monochrome interpretation.

B ACK PACK , R5 895, B O SS

In a tribute to the brand’s first diver’s watch, Tudor’s latest Black Bay Fifty-Eight perfectly fuses functionality with vintage charm.

The dreamy cloud prints on this Scotch & Soda sweatshirt might provide the necessary antidote to your wanderlust and kick your wardrobe up a few notches.

Entrenched in the style echelon, sneakers deserve top billing in every modern wardrobe. Explore their versatility in Dolce and Gabbana’s sleeker, minimal offering.

B LACK B AY FI FTY-EIGHT WATC H O N B RAC ELET, R56 750, T U DOR

S WEAT S HIRT, R 1 9 9 9 , S COTC H & S ODA

S NEAKER S , R 8 0 0 0 , DOLC E & GABBANA

B O S S 0 1 1 8 8 4 1 4 3 7 D O LC E & G A B B A N A 0 1 1 3 2 6 7 8 0 8 E P H Y M O L E P H Y M O L 1 4 @ G M A I L . CO M R I C H M N I S I R I C H M N I S I . CO M S COTC H & S O DA S COTC H -S O DA . CO. Z A T U D O R R O L E X WATC H CO M PA N Y 0 1 1 7 8 4 9 2 3 0

C O LLE C T I O N

©Photograph: Laurent Ballesta/Gombessa Project

Fifty Fathoms

RAISE AWARENESS, TRANSMIT OUR PASSION, HELP PROTECT THE OCEAN www.blancpain-ocean-commitment.com

ELEGANCE JEWELLERS SANDTON BOUTIQUE · +27 11 784 0012 SHOP U77, SANDTON CITY SHOPPING CENTRE, GAUTENG · SANDTON@EJEWELS.CO.ZA TANUR JEWELLERS · +27 21 418 5524 · SHOP 147, V&A SHOPPING CENTRE, CAPE TOWN · TANURWF@TJD.CO.ZA

TREND

IMAGES KAY-PARIS FERNANDES/GETTY IMAGES AND SUPPLIED

BO D E

CO MP I LE D BY Sah il Haril al

A tale of two cities Exploring the relationship between sustainability and agriculture, Emily Adams Bodeâ&#x20AC;&#x2122;s AW collection reworked vintage fabrics into crisp suiting and playful knitwear

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1. JOCK S H IRT, R 4 6 0 , YDE 2. LOA F E R S, R 1 499, ST E VE M A D D E N 3 . LOA F E R S, R 8 395, BO SS 4 . K N IT J E RS E Y, R2 9 9 9 , S COTC H & S O DA 5 . B U RB E RRY S U NG L A S S E S , R2 8 4 0 , S U NG L A S S H U T 6. S H IRT, R 5 9 9 , ZA R A 7. T R OU SE R S, R 1 499, T R E N E R Y 8 . H E R ITAG E A D VISO R WATC H O N A LLIG ATO R ST RA P, R9 2 3 5 0 , T U D O R 9 . O U T D O O R M E S S E NG E R B AG , R3 2 0 0 0 , LO U I S V U I T TO N 1 0 . SC A R F, R 179, SU P E R BA LIST 1 1 . T R O U SE R S, R 6 80 0 , M A X H O S A 1 2 . B L A Z E R, R1 4 9 9 , Z A RA B O S S 0 1 1 8 8 4 1 4 3 7 LO UIS V U ITTO N LO U ISV U IT TO N.CO M MAXH O SA MAX HO S A.AFRICA SCOTC H & SODA S COTC H-SODA.CO. ZA STE VE MADDE N STEVEM ADDEN .CO. ZA S UNGLAS S HUT ZA. SUN GLASSHUT. COM SUPERBAL IST S U P E RB AL IST.CO M TREN ERY WO O LWO RT HS .CO.ZA TUDO R TUDORWATC H. COM YDE Y DE.CO. ZA ZARA ZARA. COM /ZA

collabs

Virgil Abloh collaborates with streetwear icon Nigo for Louis Vuitton Men’s Pre-Collection Fall/Winter

TEXT T h an g o Ntw as a

hile the global Covid-19 pandemic and the Black Lives Matter movement have no doubt impacted the way we view and buy fashion, Louis Vuitton men’s artistic director, Virgil Abloh is rethinking and unpacking themes of travel and luxury in his latest capsule collection. In collaboration with Tomoaki “Nigo” Nagao, the DJ and A Bathing Ape (Bape) founder, the collection explores the dandy through the lens of Mod menswear fashion. While Abloh plays a formative role in influencing and defining streetwear for the current generation of hypebeasts and luxury buyers, he hails Nigo for his historical influence in amalgamating streetwear and luxury over the past two decades. Nigo’s experience is seen particularly in African-American celebrity culture, in which Bape has been a must-wear status symbol. As the brand grew with café and barbershop spin-offs, Nigo launched the Bapesta in 2002 — collectable sneakers that quickly came to rival the fame of Nike’s “Two people who didn’t go to fashion Air Force One, to which it was compared. school but came through a different Creating memorable fashion is not door,” says Abloh, “LV² signifies a squaring unfamiliar territory for Nigo, who was that creates a new dimension”. considered the right-hand man to the For this collection, the pair looked to godfather of Japan’s iconic Harajuku the late ’50s and ’60s Mod scene that fashion subculture, Hiroshi Fujiwara. originated in the UK. With an abundance He also collaborated with Pharrell of fashion waves and trends having been Williams, founding the clothing empire birthed during this period, British youth Billionaire Boys Club and accessories began calling themselves “modernists” brand Icecream. Nigo has also hooked and adopted a culture and style of their post-millennial audiences with fashion own, with meticulously tailored Italian partnerships with animated Disney and suits becoming staples as made popular Nickelodeon characters. by British bands such as The Kinks, the Titled LV², the collaboration between Rolling Stones and The Beatles. Abloh and Nigo represents the two fashion Abloh notes that this was one of the forces coming together.

LOUIS VUITTON BRINGS DANDY FASHION TO THE STREETS

Two streetwear phenoms join forces for LV²

major influences in Nigo’s life when translating his love for British culture to Japanese audiences. “He was going to London, listening to punk, buying records, seeing how Malcolm McLaren and Vivienne Westwood had been dressing,” says Abloh. “He’d come back with the fashion from London and wear it in Tokyo when he was DJing, creating this cross-pollination of fashion and culture. That was the story we wanted to tell.” While both designers are known for their influences in athleisure-inspired streetwear, the collection focuses on a sartorial flair. Abloh says the main objective of their collaboration for the LV² collection was to focus on what inspires them, rather than their personas as phenoms of streetwear.

“‘Oh, we both love streetwear so let’s do t-shirts and hoodies.’ That’s not where we’re at in 2020. We were interested in the dandy; how London Mods could meet Tokyo in a reinterpretation under the guise of Louis Vuitton. It strikes a chord with the house, which is travel and cross-pollination.” Nigo agrees, emphasising the importance of creating a complete look rather than an assortment of “cool items”. With a focus on embodying his influences from the New Wave French cinema of the ’50s and ’60s, as well as the ’70s Mod revival, Nigo looked to Louis Vuitton’s history and how best he could contribute to the collaboration. “Considering his position, it’s logical that Virgil’s role is to change the rules. So his interpretation of what can be Vuitton is more free than mine,” says Nigo. “That helped especially in terms of things like graphics — it’s hard for me to know what is right in terms of graphics for LV.” Nigo also points out that Abloh’s constant pushing continuously encouraged his creative input. Crafted for pre-fall, LV² features the trademark tailoring the house of Louis Vuitton is known for, with the inclusion of boxy cuts from previous collections by Abloh’s menswear. Echoing the theme of cross-pollination sees the iconic LV chequered print retold in coats, suits, trousers and bags in a Damier print. Modern pieces also include bucket hats and flight jackets that perfectly highlight the Mod inspiration.

TREND

IMAGES ROSDIANA CIARAVOLO/GETTY IMAGES AND SUPPLIED

BOSS

COMPI LED BY Sahil Harilal

Fireproof Paying homage to Boss’ core beliefs, Ingo Wilts’ AW collection showed relaxed tailoring and outerwear in tonal monochrome, offsetting russet and crimson with leather detailing and sportswear-inspired separates 4. 6.

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1. SWEAT PANT S, R2 399, SCOTCH & SODA 2. DISCOVERY BU M BAG, R35 000, LOU IS VU ITTON 3. COAT, R2 199, ZARA S 4. RAY-BAN SUNGLASSES, R2 199, SUNGLASS HUT 5. NI KE SWEAT PANT S, R859, SPORT SCEN E 6. SHIRT, R1 699, SCOTCH & SODA 7. HORIZON SOFT DU FFLE 55 BAG, R41 500, LOUIS VUITTON 8. DERBY SHOES, R6 895, BOSS 9. HERITAGE CHRONO WATC H ON FABRI C STRAP, R64 750, TU DOR 1 0. GOLF SHIRT, R1 995, BOSS 11 . KN IT JERSEY, R240, WOOLWORTHS 12. OZONE JACK ET, R2 499, G-STAR RAW B O SS 0 1 1 8 8 4 1 4 3 7 G -STA R R AW G -STAR . CO M/E N _Z A LO U I S V U I TTO N LO U I SV U I T TO N . CO M S COTC H & S O DA S COTC H-S O DA . CO. Z A S P O RT S C E N E S P O RT S C E N E . CO. Z A S U N G L A S S H U T Z A . S U N G L AS S H U T. CO M TU D O R T U D O R WATC H . CO M W O O LW O RT H S W O O LW O RT HS . CO. Z A Z A R A Z A R A . CO M / Z A

STREET STYLE CO M P ILE D BY S ah il Ha r i lal

Saturation Point

IMAGES EDWARD BERTHELOT/MATTHEW SPERZEL/MELODIE JENG/GETTY IMAGES AND SUPPLIED

Autumnal hues are given a cyber-pop makeover as trusted winter separates are reinvigorated in shades of fuchsia, cobalt and zesty orange

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CROSSBODY BAG, R599, MANGO

SNEAKERS, R12 000, DOLCE & GABBANA

DICKIES S W E AT S H I R T, R899, SPORTSCENE

TROUSERS, R1 999, PRINGLE OF SCOTLAND

JERSEY R360, MARKHAM

RUALD RHEEDER BLAZER, R1 299, YDE

REEBOK WORKOUT PLUS SNEAKERS, R1 599, SHELFLIFE

KNIT J E R S E Y, R2 599, SCOTCH & SODA

SWEAT PA N T S , R799, SHELFLIFE

K-WAY BEANIE, R140, CAPE UNION MART

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S H I R T, R150, MRP

CHAMPION T R A C K PA N T S , R899, SPORTSCENE

S H I R T, R599, ZARA

SNEAKERS, R999, ALDO

GIORGIO ARMANI SUNGLASSES, R3 930, SUNGLASS HUT

PA R KA , R1 499, ZARA

K-WAY PA R KA , R1 999, CAPE UNION MART

TROUSERS, R4 999, DIESEL

J A C K E T, R4 799, SCOTCH & SODA

PUMA X-RAY SNEAKERS, R1 299, SUPERBALIST

A LDO A L D OSH OE S. CO. ZA C A P E U N IO N M A RT C AP E UN I O N M ART. CO. Z A D IE S E L 0 1 1 7 8 3 0 8 8 2 D O LCE & GA B B A N A 0 1 1 3 2 6 7 8 0 8 MA N GO S HOP. MA NG O. COM/ ZA MA RK H A M MA RKHA M. CO. ZA M RP M R P. COM P RI N G LE O F SCOTL AN D 0 1 1 4 4 4 2 2 7 0 S COTCH & S O DA S COTC H-S O DA. CO. Z A S H E L F L IF E S H EL F L IF E. CO. ZA S PORT S C E N E S P ORT S C ENE. CO. ZA S UN GL A S S H UT ZA . S U NG L A S S HU T. COM S U P E R B A L IST S UP E RBAL I ST. CO M Y D E Y D E . CO. ZA ZA RA ZA RA . COM/ ZA

WATCHES

TEXT Ga r y Cottere ll

ILLUSTR ATION Richa rd Becker

he economy’s rotor has almost stopped swinging and my body clock is set to a different time zone, thanks to the lockdown measures to contain the spread of coronavirus. And as the days have blurred into weeks and then months, we’ve all relied on our digital tools for some semblance of normalcy. It certainly helped to have video chats and my regimen of daily exercise with my “virtual” trainer, and the kawaii Duo keeping me motivated with my Japanese lessons. During this pause, some old daily routines also contributed to my wellbeing, and while it may seem a little inappropriate to look at luxury items right now, I’d like to acknowledge how much I appreciated the faint, reassuring tick of my vintage Tudor Prince Oysterdate on my wrist every day. Let’s marvel at some miniature mechanical wonders for the joy they bring as we think about how we’ll be (re)presenting our new selves to the world. The Swiss watch industry is pretty resilient and, from past experience, also knows how to react to a crisis. With the two major Swiss watch fairs, Watches & Wonders (W&W) Geneve (formerly SIHH) and Baselworld, postponed until 2021, everyone swiftly moved online to showcase their new products for 2020. W&W fast-tracked the launch of its new web ecosystem to host a series of launches through webcasts with expert analyses and interviews with participating-brand CEOs and industry insiders. There are certainly many pieces to admire from those virtual presentations, with the watchmakers showing off their grand and astronomical complications, skeleton watches, and a selection of haute sport pieces that appear to have established key trends for the year. Years in the planning and manufacture, the new releases and trends capture the renewed energy in the industry, which was evident pre-coronavirus. This is best expressed through high complications as seen in the new edition of the Omega De Ville Tourbillon. Following a year focused on its Speedmaster Moonwatch, Omega surprised us with the unusual black-dialled central tourbillon, which is the first-ever manual-winding central tourbillon to be Master-Chronometer certified and highlights the diverse technical innovation at Omega.

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ASTRONOMICAL ACHIEVEMENTS

ASTRONOMICAL ACHIEVEMENTS The abundance of astronomical watches presented so far this year are also a celebration of watchmaker prowess. You don’t have to be a

Best in show 6.

EXPOSÉ

stargazer, sailor or surfer to know that time and astronomy are closely linked. Including moon phases, perpetual calendars, time zones, signs of the Zodiac and tidal indications among others, these are some of the most challenging complications to achieve and also make an emotional reference to the origins of watches as tools of navigation. Stand-out examples include the Jaeger-LeCoultre Master Grande Tradition Grande Complication, the Vacheron Constantin Les Cabinotiers Astronomical striking grand complication — also an ode to music — and the modern nautica l IWC Portugieser Yacht Club Moon & Tide. EXPOSÉ There is an even greater show of confidence in the choice of skeletal novelties with every detail of their magnificent machines proudly exposed to the world. Among the highlights are the attention-grabbing, ceramic-cased Hublot Big Bang MP-11 Power Reserve 14 Days Red Magic, launched earlier in the year at the LVMH Watch Week in Dubai, the Vacheron Constantin Overseas Perpetual Calendar Ultra-Thin Skeleton, Roger Dubuis Excalibur Twofold, Cartier Privé Tank Asymétrique Squelette, Hermès Arceau Squelette and more accessibly priced Rado True Square Open Heart. Piaget stole the limelight, though, with its Altiplano Ultimate Concept, pushing the boundaries of horological microengineering. At just 2mm, it is the world’s thinnest mechanical hand-wound wristwatch. To achieve this, it features an integrated case and movement design, an integrated winding crown, an ultra-thin crystal (0.2mm) and new construction for the barrel and energy regulation. HAUTE SPORT When spring eventually rolls in, sleeves will be rolling up, providing an opportunity for some seriously haute wrist action. Ready to hit the

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courts or take a plunge, there are a number of exciting new sports-luxe timepieces arriving on the back of growing interest in all-steel versions of premiumbrand sports watches. The curvaceous H Moser & Cie Streamliner Flyback Chronograph Automatic with its integrated steel bracelet, launched earlier this year, and Laurent Ferrier Tourbillon Grand Sport are definite favourites. Others to admire include the A Lange & Söhne Odysseus, Tag Heuer x Fragment Design Heuer 02 Chronograph, the redesigned Breitling Chronomat, the vintage-inspired Tudor Black Bay Fifty-Eight “Navy Blue”, and elegant Longines Spirit 42mm Automatic Chronometer Chronograph. For those who like their sports watches a bit more luxe than steel, the new Marine collection from Breguet is now available in rose-gold and white-gold cases featuring entrancing dials detailed in the original wave design. The charming Alarme Musicale 5547 will also alert you when it’s time to head to the beach.

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1. OM E G A D E VIL L E TOURBIL LON 2 . IWC P ORT UGI ES ER YACHT CLUB MOON & TI DE 3. VACHER ON CONSTA NTI N LES CA BI NOTI ERS AST RONOMICAL 4. JAEGER-LECOULT RE CONT ROL CH RONOGRAPH CALENDAR 5. JAEGER-LECOULT RE M AST E R G RAN D E T RAD IT ION G RAN D E COMPLI CATI ON 6 . HUBLOT BI G BA NG MP-11 7 . HER MÈS A R CEAU S QUELETTE 8 . P IAGET ALT IPLANO ULT IMAT E CONCEPT 9. CART IER P RIVÉ TANK ASYMÉT RIQUE SQUELET T E 10 . ROG E R D UBUIS E XC AL IBUR T WOF OL D 1 1 . LONGI NES S PI R I T 42MM AUTOMATI C CHR ONOMETER CHR ONOGR A PH 1 2 . T UDOR BLACK BAY FIFT Y-EIGH T “ NAVY BLUE” 13. LAURENT FERRIER TOURBILLON GRAND SPORT 1 4 . BR EI TLI NG CHR ONOMAT 1 5 . TAG HEUER X FR AGMENT DES I GN HEUER 02 CH RONOGRAPH 16. A LANGE & SÖH NE ODYSSEUS STO C K I ST S A L AN G E & S Ö H NE DAV ID @VAULT SA.CO.ZA/011 684 2023 BR EI TLI NG BREIT L ING.COM LAUR ENT F E RRIE R LAU RE N TFE RRIE R. C H ( H E RM È S, TAG H E UE R) P ICOT & M OSS 0 1 1 6 6 9 0 5 0 0 ( C ART IE R , IW C , JA EG ER -LECO ULTR E, PI AG ET, R O G ER D UBUI S , VACHER O N CO NSTANTI N) R LG A FRIC A 0 1 1 3 1 7 2 6 0 0 ( T UDOR) ROL E X WATC H COM PA N Y 0 1 1 7 8 4 9 2 3 0 ( LO N G I NES , O M EG A) S WATCH G R O UP 011 911 1200 ( HUBLOT) TANUR JEW ELLER S 02 1 4 1 8 2 5 3 0 A N D W ORL D’ S FIN E ST WATC H E S 0 1 1 6 6 9 5 6 0 0

GROOMING COMP ILE D BY Nok u bon ga Thus i

NEWS

You’ve made it through three months of lockdown, now get your life back on track with the ultimate grooming guide for the new normal DO YOU HAVE “PPE FACE” OR “MASKNE”?

atima Sholanke shares all you need to know whether you’re sticking to an “athome grooming” mandate or planning to see your barber during lockdown level three.

NAVIGATING LOCKDOWN:

I 14

f you have been wearing a face mask like the law-abiding citizen you are, you may have noticed that your skin doesn’t look as good as it did before lockdown. For many of us, and more specifically, frontline workers, the new normal is dealing with skin that looks dry, red, dull or blotchy, feels tender or even peels in some areas. The acne that occurs as a result of wearing face masks is usually a byproduct of sweat as well as the friction and pressure of the mask against the skin for extended periods of time. All these factors can cause inflammation, rashes, skin indentations and breakouts around the nose and mouth. Writing in Allure magazine, dermatologist Orit Markowitz says, “The very fine capillaries that are providing all of the oxygen, nutrients, and all the things skin needs to be healthy [are collapsing]. In a way, you’re suffocating the skin, [so it] then starts to break down… When under great pressure, masks can cause a great deal of irritation, infection, and, in extreme cases, the development of ulcers, like decubitus ulcers on the skin. Long-wear use also means inviting sweat underneath and around the mask, which can cause a bacterial or fungal infection.” While we can’t put an end to the mandate of wearing a mask, as it’s for our safety and that of others, we can control the adverse effects of protective equipment on our skin. If you’re struggling with maskne or looking to prevent it altogether, follow these key skincare tips for healthier skin during a pandemic.

After wearing a mask: 1. Upon returning home, it’s important to remove the mask from your face and wash it in a hot water, soap and a disinfectant solution or pop it straight into the washing machine. Remember to not touch the front of the mask at any time. Handle it by the ear elastics or straps to avoid any possible cross-contamination. 2. Immediately cleanse your face to remove any dirt, oil, pollutants as well as any contaminated droplets that may be on the skin. If you have oily or acne-prone skin, use a cleanser specific for acne control or a clarifying clay cleanser that will help to purify skin and manage excess sebum or congestion. 3. If skin is sensitive, apply a soothing, repair mask or face mist to calm down any skin inflammation, redness or irritations, especially on the nose, tops of the cheeks and chin. Gently massage any pressure-point areas like the bridge of the nose with an arnica ointment to promote blood circulation and reduce bruising. 4. If you have a dark skin tone, pressure points may also cause pigmentation as the skin’s natural inflammatory response is to release more melanin to the surface. In this case, be sure to use a vitamin-C serum or blemish corrector on the areas in order to manage the melanin response and help fade any current pigmentation. 5. Finish off with a hydrating moisturiser and always apply sunscreen to further protect skin from environmental aggressors such as UV damage or blue light that can increase signs of ageing and skin sensitivity or make pigmentation appear darker.

1 . L’ O R E A L B A R B E R C LU B B E A R D, FA C E & H A I R WA S H , 200ML, R130 2. SORBET MAN BEARD OIL, 50ML, R160 3. NIVEA MEN DEEP COMFORT AFTER SHAVE SPLASH, 100ML, R115 4.BEARD BOYS WOODEN BEARD COMB, R 1 0 0 B E A R D B O Y S . CO. Z A

E XPERT'S CORNER: RE TURN OF THE BEARD

1 01

Before wearing a mask: 1. Make sure that your skin is clean. Whether you’re going to the shops for a quick errand or to work, remove any dirt from the skin surface that may further aggravate skin issues or cause pore congestion. Cleanse using a gentle cleanser of your texture choice (cream, gel or foaming) or use micellar water applied with a cotton pad for a speedy cleansing. 2. It’s important to create a moisture barrier on the skin in order to prevent excessive dryness and chafing. Apply a facial mist followed by a hydrating moisturiser containing hyaluronic acid or a moisturising sunscreen immediately after cleansing. If skin is very sensitive, you can also apply a thicker cream such as a nappy-rash cream or petroleum jelly on friction-prone areas such as the nose and cheeks.

1. SORBET MAN S E N S I T I V E FAC E MOISTURISER, 50ML, R125 2. DERMALOGICA ACTIVE CLAY CLEANSER, 150ML, R579 3. NIVEA MEN DEEP MATTE FINISH MOISTURISER, 50ML, R150 4. AVÈNE THERMAL SPRING WATER, 150ML, R169

Why do you think so many men have opted to grow out their beards during lockdown? Men in general enjoy playing around with the length of their facial hair. One would find this prominent during holiday time. Beards are certainly the “in” thing at the moment and, during lockdown, guys have really embraced their facial hair. During quarantine, the need for shaving was totally eliminated. Without having anywhere to go and no one to see, guys used the “down time” at home to experiment with their beards. Shaving can be time-consuming, so not having to do it every morning before work is very appealing for some. What is the best way to keep your beard clean and also keep the skin underneath healthy? The best way to wash your beard is by using beard soap as this helps treat your beard at the same time. Wash thoroughly so that the skin underneath your beard is clean. The best skincare tip I tell all my guests, especially if they’re fashioning a full beard, is to purchase a good exfoliator. This will prevent ingrown hairs and make sure the skin underneath the beard is thoroughly

5. AVÈNE TRIACNÉAL E X P E R T, 30ML, R269

STAY-AT-HOME BEARD GROOMERS:

LEAVING YOUR BEARD UNSHAVEN DURING QUARANTINE ISN’T A SIGN THAT YOU HAVE GIVEN UP ON LIFE. SORBET MAN BARBER FATIMA SHOLANKE SHARES HOW TO MAINTAIN YOUR NEW, MORE HIRSUTE, IMAGE

DO take care of the skin underneath. Even if you have hair covering most of the lower part of your face, it doesn’t mean that your skin is fully protected. Key skincare tips such as washing your face, exfoliating, moisturising and applying a sunblock are hugely important even when you have a beard. DO keep your beard moisturised. Beard oils and beards balms can work wonders in protecting the overall look and feel of your facial hair. DO cultivate the habit of brushing your beard downwards as often as possible to prevent hairs growing outwards and looking unkempt. DON’T let your beard tangle as it will become difficult to brush. Sporting a beard can be a fulltime job, especially if you want it to be attractive, moisturised and healthy. DON’T wear a “dry beard”. Just like your hair, beards need to be looked after. The more effort you put into your beard the better it will look. DON’T apply your own chemicals and colour to your beard. Rather book an appointment with your local barber instead of doing it yourself. The skin on your face can be sensitive to storebought colour — rather let the professionals handle it.

cleansed. I still get questions from guests at Sorbet Man asking if it’s important to wash your beard. Although the hair on your head and your face are completely different, both need upkeep and washing! What’s the one product every man should have in his kit for beard maintenance? Most definitely a beard oil, such as the Sorbet Man Beard Oil. What’s the one maintenance mistake you see men making? Some gents don’t brush their beards properly so it tangles and becomes difficult and painful to brush through. Do you recommend men “blow dry” their beards out to make them look longer? This would be entirely based on preference. However, I recommend that you don’t blow dry your beards all the time as this can leave your beard dry and brittle. Sorbet Man offers a keratin smoothing treatment for beards, which is really amazing for unruly facial hair.

HEADING TO THE BARBERSHOP: Sorbet, Sorbet Man and other Sorbet Group stores have implemented strict safety measures to ensure that all guests can enjoy their experience in a safe environment. Gents should definitely keep an eye out for social-distancing measures, hand sanitisers and signage relating to hygiene protocols. Although all barbers, therapists and nail technicians will be adhering to all safety protocols, which will be evident as you walk into store, here are a few safety questions to ask on arrival or when booking an appointment: 1. Will my barber be fully equipped with a mask, protective visor and gloves? 2. Will all barber stations, including manicure and pedicure stations, be thoroughly cleansed after each guest? 3. Will there be a limited number of guests in store at any given time?

THE “PPE FACE” PREVENTION KIT

6. LAMELLE HELASE P H OTO - R E PA I R CREAM 50+, 50ML, R525

IMAGES ROSDIANA CIARAVOLO,/GETTY IMAGES AND SUPPLIED

While wearing a face mask is now a way of life, dealing with the associated breakouts and irritated skin needn’t be

THE SORBET MAN SKINCARE RANGE Even Tone Multi-Active Moisturiser | Even Tone Face Wash Designed for tough guys, the skincare range comes packed with cell replenishing ingredients, to restore skin tone, fade dark spots, and a SPF 15 to guard against sun damage. www.sorbetman.co.za | @SorbetMan Available at Clicks

COVER AND MAIN PORTRAIT PHOTOGRAPHY AART VERRIPS/RED HOT OPS STYLING AND CREATIVE DIRECTION BEE DIAMONDHEAD GROOMING LESLEY WHITBY/LAMPOST MODEL SAADIQUE RYKLIEF

Some of the brightest talents and our close collaborators share their style tips and secrets

Fashion family

S a a d i q u e p h o t o g r a p h e d by A a r t Ve r r i p s

1 . SA A D I Q U E R Y K L I EF Hairstylist I like to keep it classic. I think I look best in that kind of scenario — don’t make me look like a clown. I am not one of those over-the-top people, ever. Fashion — no thank you, not for me.

“

”

FASHION

Aart photographed by Rich Mnisi

Felipe photographed by Simz Mkhwanazi

TEXT S h a ro n A rm s t ro n g

2. 1 . S HI RT, R1 200; K NIT JERSEY, R2 500; TR O U S E RS , R3 500, A L L E P H Y MO L 2 . A R C H I VA L S H I RT, P O R; U MG E NI S H I RT D R E SS WI T H B E LT ( WOR N A S N E C K PI E C E ) , R 9 5 3 , A L L A M A N DA L A I R D C H E R R Y; HAT, MODEL’S OWN 3. K NIT JERSEY, R1 999; TA I LO R E D T R AC KS U I T BOT TO MS , R1 799; B AG C H A RM, R 3 999 ( PA RT OF B AG SE T ) A L L R I C H M N I SI 4 . M A D E -TO-M E A SU R E WOOL A N D C A SH M E R E JACK ET, R78 000; HANDMADE SEA ISLAN D COT TO N S H I RT, R7 500; W O O L A ND C A S H ME R E S E V E N- F O L D T I E , R5 20 0 ; WOOL T R OU SE R S, R 2 4 0 0 0 , A L L R OW-G ; SU N G L A SSE S A N D SI G N E T R I N G , MODEL’S OWN 5. C A S H ME R E CO R D U R OY M65 JAC KE T, R68 000; C A S H ME RE KNI T JE R S E Y, R 1 2 0 0 0 ; SI L K / L I N E N T R OU SE R S, R 1 7 0 0 0 , A L L R OW-G

AM A NDA LA I R D C HER R Y IN F O @ LA IR DCH E R R Y.CO.ZA EP HYMO L E PH YM O L14@ GMAIL. COM RICH M N ISI RICHMNIS I. COM R O W-G BY A PPO IN T M E N T 011 870 4267

Rahim photographed by Steve Tanchel

Steve photographed by Themba Mokase

To watch the full interviews go to y o ut ub e .co m / p la y l is t ? l is t = P Ly AC lHJk1Fm5q0AQxCx9pi G4W xr zu 2kAz

2 . F EL I PE MAZI B U KO Fashion curator / historian

“

I think for growth in any industry that is emerging — and I do think the South African fashion industry is emerging — you have to have people who are brutally honest. I am not a hater, I just believe in telling it like it is and there is always something constructive within those lines.

”

3. AART VERRIPS Photographer / model

“

My style is simple, clean cut, in tonal colours and always durable because of what I do. Men should embrace their own style. Don’t think about society and how people see you. Wear what you want to wear.

”

4. ST E VE TANCHEL Photographer / director

5. RAHIM RAWJEE Designer / gentleman

Italian. To start, a whole lot of people stand around you with iPads, and they don’t even baulk at your measurements. This is a process where you come back six or seven times. It’s completely bespoke and when you put it on you feel like George Clooney.

fidence, chivalry, are a feminist, and are kind, these are the most important things. Bad style is being ignorant, not having a sense of empathy and not understanding what’s going on in the world today; what’s required of you as a human.

[Fitting] a Row-G suit makes you feel “good. It made me feel like screaming in

”

It doesn’t really matter what you wear “at the end of the day — if you’ve got con-

”

PARTNERSHIP

HYBRID THEORY Stay connected and look smart in the new Lexus UX 250h EX Hybrid

ince its launch in 2019 the Lexus UX has been creating something of a stir in the luxury crossover-SUV segment, thanks to its enticing blend of bold styling, cutting-edge features and invigorating driving dynamics. Lexus has never been one to rest on its laurels, however, and so for 2020 it has added a new derivative to the already diverse UX range: the UX 250h EX Hybrid. Designed from the ground up to offer more for less, this electrifying newcomer is loaded with everything to give you the urban edge. Whether cutting across town for an important business meeting or heading out to the country to recharge your batteries, you can count on the UX 250h EX Hybrid to deliver you to your destination both smoothly and efficiently. For under that sleek bonnet resides the latest fourth-generation Lexus hybrid drive system that’s already been proven in the now familiar UX 250h SE Hybrid. Specially tailored to fit

the UX platform and partnered to a 2.0-litre petrol engine, this advanced powertrain not only offers savings at the pumps but also spirited performance across a broad palette of urban and rural terrains. You can customise the driving experience to suit your mood with the standard Drive Mode Select system that allows you to quickly switch between three factory-set modes — Normal, Eco or Sport. We’ve all got a lot on our plates and a myriad of different things to think about at any given moment, which is why the UX 250h EX Hybrid comes equipped with a cache of smart features designed to help make everyday life easier. Parkdistance control and a reverse camera take away the stress of navigating through the tighter confines of the concrete jungle, while a hands-free powered liftgate means that you can access the boot even when your hands are full and your key fob is buried inside your bag. The premium cabin of UX 250h EX Hybrid is equally

cossetting and, as such, features all of the switched-on amenities you’ve come to expect in a modern Lexus. And headlining proceedings is the powerful Lexus Remote Touch Interface with haptic feedback that has been engineered to operate in a fashion not dissimilar to the latest generation of smartphones. It offers quick and easy access to all of the features the infotainment system has to offer, including standard satellite navigation. Apple CarPlay and Android Auto are both fully supported, meaning you can transform your next road trip with all your favourite mobile apps — including the ever-popular Waze. Finally, linked to a Lexus eight-speaker Premium Sound System you can be sure of a vivid and engaging audio experience whether you choose to stream an episode of that addictive podcast or rock out to your new music playlist. Connectivity is no longer a luxury but a necessity. Whether it be checking work emails or uploading content

to your preferred social-media platforms, access to the internet is essential for the day-to-day running of our lives. And just because you’re on the road doesn’t mean that the worldwide web should have to take a back seat. This is why the UX 250h EX Hybrid has been bolstered with Lexus Connect: a seamless and free Wi-Fi connectivity system that keeps both you and your passengers logged in and able to operate just as you would in your home or office. Wireless internet aside, those sat in the back can also keep their phones or tablets charged thanks to two dedicated rear USB charging ports. Sharp, stylish and capable of syncing effortlessly with your most demanding modern lifestyle requirements, there has never been a more attractive way to experience the urban edge than behind the wheel of the latest addition to the UX tribe: the all-new and value-packed Lexus UX 250h EX Hybrid.

“LEXUS HAS NEVER BEEN ONE TO REST ON ITS LAURELS”

PURSUITS

T E XT D r a m T h e Man

I L LU ST R AT I O N S R ich a r d B ecke r

WHISKY

FEEL THE HEAT

WANT WINTER WARMTH? THEN WHISKY’S THE ONE.

BUT GET IT RIGHT, OR GET LEFT OUT IN THE COLD

the cold, but Cardillo points to the influence of a less-commonly-used barrel. “Port casks are very special in winter,” he enthuses, highlighting the warming effects of Laphroaig’s Brodir and Glenmorangie’s Quinta Ruban. reston van Wyk, a good friend who pioneered Joburg’s early rave scene, once shared That’s what we’re after: whisky’s his take on techno’s enormous European appeal. “Partly, it’s a climate thing,” he warm-hearted embrace. Spirit to soothe our explained. “Dancing warms you up. The faster the music, the more you sweat. You spirits. Nothing compares to the tingling get reggae on islands. In icy warehouses, you get 130 BPM [beats per minute].” It’s sensation of a veld fire spreading down your true that creative expressions resonate best when in sync with their environments or, as David throat, comforting every far-flung corner of Byrne posits in his book How Music Works: “Genius — the emergence of a truly remarkable and your cooled constitution. I feel it as I write, memorable work — seems to appear when a thing is perfectly suited to its context.” thanks to a boldly sherried Speyburn 12 from The thing I’m on about here is whisky. The context is winter. And when in symbiosis, there’s La Maison du Whisky, so I’m shocked when a touch, a taste, of genius. Kinda obvious, right? I mean the spiritual home of this fiery drink I discover that this feeling is, in fact, fake. is a snowy, wet, mountainous land called Scotland. But for us sunny South Africans, the cold According to Mythbusters, a small amount months are all alien and uncomfortable, a faded forgery of our favoured clime, dusty, dreary of alcohol is enough to cause blood vessels and dry. Or “dark”, as Dave Gunns, co-owner of Wild About Whisky, states. He’s talking specifito dilate and move warm blood closer to the cally about Dullstroom. Home to his famous bar, it’s a town that really feels winter’s wrath. But skin’s surface, creating the temporary illuregardless of where we are, as dutiful drammers we must adapt when the mercury drops, sion of warmth. change behaviour and harness what little heat we can. Bah! This makes me want to silence science, to kill its killjoy conclusions. I am, however, happy to listen to real-life scientist, Derek Nell, because he’s a bona fide Whisky Pig with a passion for experimental pairings. Given that we eat more in winter, I’m keen to hear his pointers for cold-climate cuisine. Nell believes that when food flavours mirror a bottle, it’s an exercise in redundancy, often suppressing nuances that aren’t immediately apparent. And balance is everything. “It’s the difference between conquering and complementing,” he says. He praises local whisky Three Ships’ 1. 3. 5. 6. versatility, suggesting different cask finishes 2. 4. to create culinary combos: the Pinotage 15 1. Inchmurrin 11 Year Old (Bottega Whiskey Club) 2. Kilchoman Loch Gorm 2018 3. Laphroaig Brodir 4. Glenmorangie The Quinta Ruban 14 Year Old for steak, the Fino 9 for mince pies, and the 5. Redbreast 12 Year Old Cask Strength 6. Three Ships 15 Year Old Pinotage Finish Oloroso 8 for Christmas cake. Gunns enjoys sherried whiskies with meat-based stews and peat with pudding to release some sweet. “That sweet in peat is why I’m in this industry,” he smiles. I take note and pour Kilchoman Loch When I raise the subject with Saverio Cardillo, owner of Bottega Café and its ever-popular Gorm 2018 over my wife’s already heavenly chocolate brownies. It’s a religious experience. Later, Cardillo lures me out of lockdown with the promise of a perfectly paired Philadelphia whisky club, he rattles off a list of mouth-watering expressions that help him get through winter. They range in region and age, but most are sherry matured, or smoky, or both, with high alcohol cheesecake. Our first taste, accompanied by his independent bottling of Inchmurrin, an 11 Year volumes. These factors make drams robust and full-bodied and, in icy atmospheres, we crave Old finished in French Limousin oak, turns my mouth into a baking tray of orchard fruit and liquorice. Then he pulls out a favourite, the elusive Redbreast 12 Cask Strength. This duo is their impact in the same way we do comfort food. “The more alcohol, the more flavour,” explains Gunns. “It’s as simple as that.” Sherry- like dessert topped with more dessert. Perfect harmony. I’m aware of my face being stuffed. I’m matured whiskies tend to have a complex profile, with a spiciness that’s even more enticing in aware I should stop. But it’s winter, and it’s worth the weight.

MOTORING

ockdown has been a fine catalyst for new experiences. From brewing pineapple beer and baking bread to literally taking a stab at cutting our own hair, the restrictions put in place over the past few months have seen many of us try things we ordinarily wouldn’t. In doing so we’ve picked up new skills and inadvertently walked away with new hobbies. While I managed to resist the temptations of moonshine, I did dive headfirst down the rabbit hole of sim racing. Now in case you live under a rock or are somewhat technologically challenged (don’t worry, I’m far from switched on myself), sim racing pretty much does what it says on the tin: it recreates real motor racing in the virtual form using a dedicated gaming PC or console. Think of it as a flight simulator, except instead of piloting a Boeing 747 across the Atlantic, you’re flinging your favourite racing car around your circuit of choice. It’s impressive technology but technology I’d long chosen to thumb my nose at. I thought it geeky. It conjured up images of sad, middle-aged men with TV-screen tans and paunches on sofas surrounded by empty pizza boxes and forgotten crisp packets. And, after all, why would I want to waste time in the virtual world when I could race around real tracks in either one of my real-life racing cars – a ferocious 450hp Ford Mustang or a super-nimble Lotus 7? Well, everything changed in March when the world went to shit and we were all basically sent to our rooms to think about what we had done. Like socialising and group exercising, real racing was now all but a distant memory. Even driving for pleasure out on the street was punishable by a public pistol-whipping and/or a hefty fine. So to get a sensation of speed I switched on my old PlayStation 3 and shoved into its slot a forgotten copy of Gran Turismo 5 that had been in my cupboard for God knows how long. And that was it — after a few nights I was pretty much sucked into this rapid world of zeros and ones. Those once angst-ridden nocturne hours melted away as I drove a Castrol

TOM’s Toyota Supra (one of the coolest race cars ever) around the Autodromo Nazionale di Monza. Similar to picking up my iPhone and scrolling through my Instagram feed, the quest to better my past lap times had become another way to get a quick dopamine fix. Unfortunately, however, I am human. And that means I’ll never be happy with what I’ve got. Gran Turismo 5 was fun, but I wanted more. I wanted to compete online with other irrational members of our species. It didn’t take long until the PlayStation 3 was swapped for a secondhand PS4 and the floor in front of my flat screen was filled with a racing rig equipped with a force-feedback steering wheel and pedal set. I downloaded Gran Turismo Sport from the PlayStation Store and, well, the increased immersion blew my mind. Moving to a proper wheel makes the whole experience

feel that much more realistic. Once I was comfortable with this new setup and I’d racked up enough practice, I gave the online racing thing a whirl. In Gran Turismo Sport you can compete against other drivers from around the world or simply wrangle together a few friends and host your own mini Grand Prix. I’ve been doing both and I find the pumped-up, butterflies-in-the-stomach feeling I get from it is similar to the one I get in real racing. Ditto the level of concentration. I may be in my lounge but I still want to win. As such, my focus is fully on the action unfolding in front of me while everything else in life just burns away. It’s a good feeling — one much appreciated in this hour of global doom and gloom. So what’s next, then? Well, with this lockdown starting to ease I’m guessing that it won’t be long until the amateur racing fraternity and I can climb back into our real cars and go wheel-to-wheel like we did before. Real risk.

FROM VIRTUAL INSANITY TO VIRTUAL REALITY T E XT T h o m a s Fa lk ine r

Is sim racing as good as the real thing? Thomas Falkiner gives the online motorsport world a whirl

Real damage. Real expense. Be that as it may, I’m still going to stick with sim racing for the foreseeable future. Hell, I’ve even entered an online championship that started on 29 June and ends on 1 August. Much like baking bread rolls on Sunday afternoons it has become part of my new normal: a new way of enjoying and celebrating the automobile post Covid-19.

TOYOTA IN THE TIME OF CORONA Toyota South Africa has been doing its bit to help fight the scourge of Covid-19. The manufacturer has produced more than 23 000 face shields, of which many thousands have been donated to the KwaZuluNatal health sector. The first external benefactor was Prince Mshiyeni Hospital in Umlazi, Durban, receiving 900 face shields in April, while a further 10 000 units were delivered to other hospitals and clinics in May. Toyota has also been supporting the local taxi industry. Since the beginning of lockdown the Japanese marque has invested more than R10-million to help keep drivers and passengers safe during daily commutes. The assistance comes in the form of more than 65 000l of sanitiser, 2 000 facemasks, as well as Covid-19-related marketing initiatives.

IMAGES SUPPLIED

INTERVIEW

TEXT S i p h i we M pye

P O RT R A I T Alon Skuy

patriarchy because if you say to a man, “Patriarchy is a prison, you are limiting your life by adhering to its principles; if you free yourself from patriarchy you will live a fuller life.” That sounds good; reasonable. But then you think about the benefits of patriarchy, any reasonable or unreasonable man starts to weigh up these things, and it seems that they would benefit more from patriarchy. And that, for me, was one of the biggest realisations and I felt like, “Fuck, we’re fucked.” I am an optimist and idealist, but that film broke my idealism and optimism. And then there was the backlash... Let’s talk about the backlash. I remember the day after the screening, [I was] lying on my bed, crying. The film trended for two days and my wife was in Mozambique and she kept sending me all these [messages], “This film is amazing, it’s beautiful”. People loved that film and it was successful in that sense. But there are also those corners, and I couldn’t not look at them, in fact, that’s all I looked at. All I remember is me standing on a stage in Montecasino and the lights are shining. I can’t even tell who is talking, and I am hearing a barrage of voices. Feminists telling me how the film presented a limited view of patriarchy, and how can you have re-enactments in a documentary, and how can you do this and that’s wrong. That’s all I can remember. And the men, they’d say, “You’re just doing this so you can get laid.” I had no avenues or channels to speak about this. This is probably one of the first times. Only years later could I really speak about it. And I don’t want to be taking up space as a man [saying], “Oh my God, I made this film about patriarchy that fucked me up.” I don’t want to be taking space from women who are dealing with this shit every day. Gender-based violence is part of a war. But even those of us who know this and mean well, we still benefit from it and we don’t lash out against it. We do enough to be “good guys” and we don’t put enough on the line... We speak about this all the time, but the bar to being a good guy is so low. A good father is so low, a good husband. So, so low. It’s hard to be optimistic. As both of us sit here, we have a large “body count” of women whom we have treated badly. Every day we are dressed in military uniform and we still hold weaponry. We stand there trying to convince these women that we are not trying to kill them. And they are saying, “How? Look at you guys, all of you?” And you are saying, “No, but I’m different.” You look at the other dudes, trying to convince them not to [cause harm], but they look at you and think, “But you’ve done the same shit I have.” When your son, Lentswe, turns 18, what do you hope that society will look like? My father’s frame of reference was his father. His father died when he was two years old, so his frame of reference beON MANHOOD: came all the men he was exposed to. Most of them were politicians. He was raised by politicians on the streets, so at a young age he was going to rallies. And they all went to prison and into exile and then they all came back and were running the country, running businesses. They don’t have a frame of reference for fatherhood. We need to create a new set of associations for what fatherhood and manhood are. A new set of ideas. Even though it is going to be problematThe ic and flawed, I think they are going to see things filmmaker that we never saw our fathers do, and I think muses on his that’s the important thing. Men cook. How do you interactions know that? I saw my father cook every day. Men with do dishes. How do you know that? I saw my father patriarchy and the do dishes. Men do this, men do that. Because my kind of world father cooked, cleaned, was kind to my mother; he wants for he was compassionate, thoughtful. I am going to his son do those things because I have seen those things happen before. Only through what our kids see can they create a whole new set of associations to what life could be like. That gives me a sense of hope.

Lebogang Rasethaba

arenting is a tricky business. During non-apocalyptic times, rearing offspring often feels like being the caretaker for a sentient Fabergé egg with a death wish. Compounded with the stress of having to constantly keep their fingers out of electrical sockets and their eyes off of dodgy internet sites is the fact that you have to build them into decent human beings. Ostensibly, the vast majority of parents do not actively teach their children that being at the head of a neo-Nazi rally chanting, “You will not replace us!” is a good thing, yet there they are, making things awkward for mom and dad. One of the things journalists love doing once someone is caught doing something egregious is throwing a camera in their parents’ faces and getting the classic shot of mom sobbing, “Chad is a good boy, he would never do such a thing.” In fact, the whole concept of raising good boys and girls is what underpins the multibillion-dollar parenting-advice industry. There is an area, however, that doesn’t get as much time in the spotlight — and the downtime this pandemic has given us may just be the moment we needed to address it. Cue the big reveal: it’s parental baggage.

Our children’s keepers

ebogang Rasethaba values being a father above all else. But he is also a successful filmmaker, who happens to be a cis-het black, African, husband. These are all important pillars of the versatile director’s identity. In just the past five years, he has brought all his selves into directing The People Vs series, a documentary portrait of struggle veteran Andrew Mlangeni, commercials and music videos, and the definitive South Africanmillennial music documentary. 2017’s The People vs Patriarchy persists as a pivotal moment in South Africa’s often-messy public dialogue about male supremacy, which exposed Rasethaba to a kind of scrutiny unprecedented in his professional life. He speaks for the first time about the pain that film carries and the bleak realisations it cemented. US author Robert Jensen says that you can choose either to be a man — and enjoy all the things that patriarchy bestows upon men — or choose to be a human being. But you can’t be both. What do you think about that idea? On some days — in fact, most days — I’ll agree. On other days I will question and feel the need to defend and fight. I’ve got this ongoing monologue — when anyone gives me half a second or when I ask myself who I am — before my kid was born, I would say a filmmaker first, then maybe husband, black, then heterosexual, then African, and then I’d be a man. Ever since I became a father, it’s quite clear to me that I am that before anything else. So the thing that makes me a human being, as a man, is the fact that I am a father. Being a filmmaker may be your purpose, but it’s primarily what you do for a living. Why was that the thing that defined you? Because the construct of a capitalist society [is that] your worth is defined by what you do and what you can offer. I think it’s also the thing that people spoke about me the most; the thing my parents were most proud of and the thing that I was most proud of. It’s the thing I could hide behind the most; it’s the thing I was good at. And because of the idea of this looming shadow of poverty and constantly trying to stay ahead of it. So defining yourself by what you do is a knee-jerk reaction to poverty mentality. How did fatherhood jump the queue? In my attempts to recalibrate my identity, fatherhood has given me something to hold onto, as a consistent thing I get back to. I think it also gave me a sense of real purpose, but not in that corny way that people talk about purpose. I remember when my wife was pregnant, I read Professor Pumla Gqola’s chapter in a collection of essays (Feminism Is: South Africans Speak Their Truth) where she said how resentful she was of her partner, because she felt he was never there during her pregnancy and she felt alone. It really gave me a different sense of what presence meant. In the physical sense, emotional sense. Understanding my purpose to be present, particularly in the case of fatherhood. What does a present father look like? That was a massive game changer for me. Speaking of the goals that people attach to you, when they assume you are going in a particular direction, and it turns out you are going in the opposite direction. Once you get wind of these goals, is there pressure to then try to attain those goals because that is the expectation, from family or society? It would be very insincere of me to say that I don’t feel the external pressures society puts on me. Anyone who tells you they don’t care is full of shit. We all care, to varying degrees. Sometimes I am defined by those external metrics, sometimes I don’t even hear them because I am focused on the internal metrics. I think most of us are constantly oscillating between those two points. What did the first film in The People Vs series teach you? What I liked most about The People Vs The Rainbow Nation was people that it exposed me to. Through making that film, I met a whole bunch of people who were all having these conversations at a defining moment of a wave that, at the time, people were calling “wokeness”. It forced me, like most of us, to think and talk about things we weren’t thinking about with great intensity. It forced me to take a position on class, race, gender, all these things. You can’t be neutral as a filmmaker. Then you made The People Vs Patriarchy. Going into it, you felt a little under resourced? I still can’t watch that film to this day. It’s too painful. It’s bleak, it’s dark, it’s ugly. I feel no positive emotions thinking about making that film, watching it or the reaction to it. I guess the biggest lesson was that men have absolutely no interest in dismantling patriarchy. None. And they’ve got no reason to dismantle

TEXT Yo l i s a M ke l e

I L LU ST R AT I O N R i ch a r d B e c ke r

I grew up in the moist, warm afterglow of apartheid. I was seven when everyone formed happy and orderly little queues and smiled at each other as they voted. I hadn’t hit 10 years old when we won the Rugby World Cup for the first time. Oh, what heady days. The white people brave enough to not flee to Australia or wherever loudly declared that they were no longer racist. In fact, they never had been. It had all been just a misunderstanding. The black people, exhausted, no doubt, from generations of fighting and persecution had also (at least in public) decided to go with it. The witch was dead, the signs had been taken off the benches and it was time to get on with the business of nation building. Among all this good feeling, little old me was growing up surrounded by all manner of white people, all of whom swore that the youth, having grown up in mixed company, were inoculated against racism. All the while, my dear old dad was quietly suspicious. At the time it never quite made sense why. Fast forward a few decades and, during one particularly enlightening conversation, the reason was finally made clear. Baggage. To hear him tell it, post-1994, he was justifiably angry with white people — and more than

The podcast of this conversation will be available on notedman.com soon. Follow @notedmanza for updates.

a little suspicious — but he wanted his children to grow up without that same grinding rage. So he bit his tongue when his privileged son spouted nonsense about poverty having nothing to do with race. He fought the schools about some of the racist things they did but kept his kids out of it so that they could enjoy the psychological freedom he and others had fought for. Many of his counterparts didn’t. Remember in the late ’90s and early ’00s when everyone had been cured of racism and all their kids were destined to become the poster children for a non-racial South Africa? Well, it didn’t quite turn out that way. All of those little Chads and Sarahs, whose parents told everyone they could find about their children’s black friends, grew up. The older they got, the more

of their parents’ baggage they took on, and soon they had Tinder profiles that read “Caucasians only” and were expressing very non-Mandela-like thoughts on social media. The point of all of this is that, during this pandemic, in a time when we are likely to be in much closer proximity to the little humans whom we have been tasked with raising, we need to be vigilant of ourselves. Being woke is all the rage and performing wokeness gets you all types of societal brownie points but, sadly, kids often pick up on the things you do when you think no one is watching. All those little complaints about “them”, those jokes that you know wouldn’t fly in public and

those off-the-cuff comments made when watching TV get written into their coding, only to come out later. In days of yore, a bit of light racism may have gone unpunished, but thanks to being cooped up all year and protests around police brutality and racism, things are a little tense. Which means that, should the baggage your kids pick up from you decide to pop out at your local Spar, dear old Sarah could well end up as another one of those sobbing white ladies the internet loves. In 2004, Chris Rock said his primary job as a parent was to keep his daughter off the stripper pole. In 2020, ours should be to keep our kids from going viral for the wrong reasons. Let’s not allow the bad habits we learnt in our youth to be the reason we fail in that mission.

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1 . R 3 8 9 , S U P E R B A L I S T, S U P E R B A L I S T. CO M 2 . R 9 9 9 , A L D O, A L D O S H O E S . CO. Z A 3 . R 4 4 0 7 , B O S S , 0 1 1 8 8 4 1 4 3 7 4 . R 2 4 9 9 , CO U N T R Y R O A D, W O O LW O R T H S . CO. Z A

LOCKDOWN HEROES

T E XT D am i an Arm s t ron g

I L LUST RAT I O N S Cari ke de Jage r

A FEW GOOD MEN These three local heroes didn’t let lockdown stop them from changing lives Rali Mampeule

ome is where Rali Mampeule’s heart is, but over lockdown he didn’t retreat to his own. The self-made property magnate was too busy helping others, answering a national call for business owners to pitch in and assist where they could. Mampeule’s game is real estate and he’s passionate about the speedy delivery of housing for the poor, so he headed for a desolate patch of land near Roodepoort to bring comfort to a forgotten community. This dusty, dry lot is known as Plot 323, or Ikemeleng to the tented community that relocated here after being evicted from nearby farmlands. With few amenities, let alone four walls or a roof, these families have struggled to stay safe, forced to fight the

elements on the frontline. And that was before the virus hit. With winter approaching, no brick and mortar to retreat to and a cramped proximity that prevents any real social distancing, things were looking dire. That was until Mampeule stepped in and, through his South African Housing and Infrastructure Fund (Sahif), donated 72 temporary shelters to these families. Once the board had approved the donation, things moved very quickly. Within 10 days, 50 of these structures had been delivered and erected, and soon thereafter around 300 people had a place to call home. These fireproof, wooden-floored, two-bedroom units are smartly insulated for maximum weather durability — keeping warm in the winter and cool in the summer. And,

although considered temporary, they last up to 15 years and are often used as accommodation in game lodges and on farms. Minister of human settlements, water & sanitation Lindiwe Sisulu hosted a handover ceremony at which she thanked Sahif, saying: “This is the kind of shelter that anybody would be happy to live in. It provides the necessary decency and the necessary privacy.” Putting roofs over heads is not a random act of kindness for Mampeule and, although his property portfolio has expanded enormously over the years, one of his key goals is finding solutions to our housing crisis. Sahif’s innovative model sees the company acquiring vacant, centralised land in urban areas, and converting these plots into zoned

and serviced stands on which the poor and working class can build homes. It’s a solution that not only gives the disenfranchised an opportunity to own title deeds, but also provides access to amenities — shops, parks, clinics and transportation hubs — that in the past were a walk too far. This approach tackles the enduring and horrific legacy of South Africa’s spatial separation head-on, turning the tide of systematic societal distancing that prevailed long before this pandemic. This ground-up attitude of empowering the most vulnerable mirrors Mampeule’s own rise in the business world. Known for his bootstrapping ways, his well-documented story puts a new spin on the property world’s mantra: location, location, location. In the early 2000s he found himself in exactly the right place at the most opportune time, selling boerewors rolls in close proximity to Paul Everitt, son of Charles, the founder of Chas Everitt International Property Group. Everitt recognised a burning ambition in the young Mampeule and offered him a job as an assistant realestate agent. Back then, Mampeule was studying for a BCom degree through Unisa; now he is a Harvard alumnus. Along the way, he became the country’s first black real-estate principal, started investment-holding company Phadima Group Holdings, won multiple awards, created a foundation and learnership programme, and has been elected onto the Forbes Real Estate Council. His journey has taken him around the world, but never too far from his roots or the poor, whom he plans to keep supporting for years to come. For more information, visit sahiffund.co.za

spaza shops and hawkers were not selling,” says Kubheka. He realised that small enterprises in townships play a huge role in supplying food to the people living in those communities. That’s what inspired him to round up volunteer chefs from Wakanda to prepare 200 meals in the first month of lockdown. “People sat at home and waited for this magic moment and we said, ‘No,we are going to be part of the solution.’ Last month we did over 65 000 [meals],” Kubheka says. Partnering with food-rescue organisation SA Harvest, Kubheka worked to bridge the gap between the excess food from businesses that had shut down and hungry citizens. But he knows that this is a temporary measure. “One of the things that would frustrate me was that we would go and feed a community, then the next day there would be one-and-half times more people than the previous day. So it’s not solving the problem, it’s just remedying it,” says Kubheka. “People get tired of helping, especially when there are more people the next day.” As lockdown levels shif t and the future remains uncertain, Kubheka is working to ensure that communities become self-sustainable, rather than dependent on charity, through collecting goods to assist them in continuing their daily lives as shop owners, hawkers or informal traders.

here are many ways in which we can change people’s lives, but for paediatric surgeon Professor Jerome Loveland, it’s all about helping those most in need. Loveland is the founder of Surgeons for Little Lives, an organisation comprising a team of paediatric surgeons and everyday heroes working to give children access to life-changing surgeries. Prior to “sneaking into Wits Medical School”, Loveland grew up in Hillbrow after his English parents had migrated to the area. His mother was a nursing sister, and a keen interest in medicine as a child grew into Loveland’s decision to pursue medicine as a career. In his first year he joined the Johannesburg Emergency Services as a volunteer, which Loveland credits as a highlight, giving him insight into “the other side” of life. Loveland founded Surgeons for Little Lives while working at Chris Hani Baragwanath Hospital, which he noticed had poor access to resources. “It served this massive community and was disadvantaged on so many levels. The first thing was to work at Bara to provide a superb clinical service to our patients,” says Loveland. And he succeeded in this mission, attracting many more surgeons to work by his side in the hospital’s trauma unit. “But then it became evident that we weren’t going to get the support that we required to really grow the unit to a level that the patients and staff working in the unit deserved,” he says. He notes that Baragwanath remains devastatingly under-resourced but he had some success. While the main aim of Surgeons for Little Lives is to ensure young patients get the operations they need, the NPO also assists in training registrars at the hospital. “We grew the idea and put the framework together and formally launched in 2015. It’s just been a torrential success.” Going beyond the operating room, the organisation spends 90% of the funds received to not only help patients in the hospital but also to support them in their daily lives. While under-resourced hospitals around the world face similar issues, Loveland says Surgeons for Little Lives is a great example of finding solutions. “It tells you that it can be done in all other aspects of medical care in South Africa. That should give everybody hope.” Speaking to fellow South Africans facing the Covid-19 scourge, Loveland says more South Africans need to work together.“Collaboration brings success. We need to work together in our respective communities and as a country. By collaborating and working together we will ensure the best possible outcomes.”

To contribute, visit saharvest.org

To contribute, visit surgeonsforlittlelives.org

miles kubheka

TE X T T h a ng o N t w a s a

professor Jerome Loveland

uring the early 2000s, Hansa Pilsener launched a series of advertisements that resonated with many South Africans, featuring a fictional character, Vuyo, who became renowned for his boerewors-roll business. Labelled a “big, big, dreamer”, the character has much in common with IT-graduate-turned-gastronomist Miles Kubheka. In 2012, Kubheka founded Vuyo’s, which has come to be a hotspot on Soweto’s famed Vilakazi Street. Ever the eager entrepreneur seeking solutions to South African problems, Kubheka used fiction again as a conduit for change in 2018. He founded Wakanda Food Technology Accelerator as a way to offer assistance to entrepreneurs in the food industry. “I saw the movie Black Panther and, in it, Wakanda was a successful country. I wanted to start a business where I could find amazing food creatives who had experienced similar challenges as me. We have a shared kitchen where everyone who is in the food space can come and utilise our infrastructure,” says Kubheka. However, when the Covid-19 pandemic hit South Africa, many of the businesses Wakanda assisted came to a halt. Many produced goods that were centred on events or delicacies that were impractical for the lockdown period. “We applied for an essential-services certificate because we knew that food was going to be scarce in the townships, since

DESIGN

TE XT Gr a h a m Wo o d

PHOTOG R A P H Y El s a Yo u n g

STYL IN G Sven A l be r d in g

wattles that no one realised what a spectacular view lay beyond the screen they had created. It even took these seasoned architects more than one visit before the penny dropped, but when it did, they nabbed it. While the view that was revealed when the vegetation was cleared undoubtedly remains the hero of their new home — they removed 40 alien trees — the shabby little late-mid-century, LA-style bungalow on the site ended up exerting a considerable influence, too. In the grand narrative of Johannesburg architectural history, there’s a footnote for California-inspired modernism. The bungalow on the site, with its zigzag roof, multiple volumes and whitewashed distemper walls, was clearly influenced by LA’s postwar Googie architecture: a daring, flamboyant, futuristic style with its roots in the golden age of automobiles and the era’s infatuation with space travel. Coincidentally, Rech and Carstens had recently completed two projects that had fuelled their interest in the era. The first, Keurbooms River Cottage in Plettenberg Bay, looked like something out of 2001: A Space Odyssey, and the second,

on Nettleton Road in Cape Town, involved the interior design for a John Lautner-inspired, Iron Man-style holiday house. “It did awaken a little monster within us,” says Rech. They had begun collecting mid-century furniture and had studied Lautner’s masterpieces, repeatedly flattered by the world of cinema from James Bond to Tom Ford’s A Single Man. “The first part of this project was restoring the original house,” says Rech. It wasn’t an outstanding example of the style, he explains — not quite heritage material and a bit cheaply and clumsily done in parts. “But we thought it had a serious charm to it, and we wanted to protect this style of house,” he says. “Some of the internal planning was very cluttered, so we knocked out some of the internal walls and opened it up. Those are the levels of the existing house, so we thought we’d work with them.” He and Carstens preserved period details and restored the finishes, from the idiosyncratic distemper on the walls to the quarry-tile floor and steel window frames, as well as an Aga stove in the kitchen and some surviving timber work — internal screens and a little breakfast nook. “It’s a bit rickety, but it adds to the layering and richness,” says Rech.

The master bedroom upstairs is housed in the most extravagant architectural gesture of the house – a prismatic, faceted “hat” with a conical skylight that beams in natural light. This Googieinspired sculptural form is clad and articulated in its interior with blondeoak floors, walls and ceilings creating a kind of envelope for its asymmetrical arrangement of furnishings

The open-plan bathroom is kept private with a section of faceted stealth-bomberinspired roof (orange on the inside like a bomber jacket), and it too has views over Johannesburg. The bath, custom-made from a mouldable-acrylic solid surface material, features sanitaryware from the iB Rubinetti Bold collection Silvio Rech and Lesley Carstens are pictured here with their son Gio and daughter Luna

The built-in timber benches and table were restored in the original kitchen nook, retaining the historical layering featured in the original parts of the house

South African architect couple Silvio Rech and Lesley Carstens reimagined an LA-style mid-century bungalow on Johannesburg’s Westcliff Ridge as a contemporary Googie-inspired fantasy

PRISM

From across the valley, the lightness of the clean-lined concrete slab and slim pilotis seem to float above the rocky ridge at the base of the house, and wild vegetation of the ridge overlooking the city, at once futuristic and primal

1-2

In the main sitting-room area, mid-century and ’60s design pieces are set in dialogue with the LA-style late mid-century architecture of the house

A wedge-shaped cutout in the concrete of the top veranda reveals the swimming pool below. The covered outdoor lounge area on the lower level features designs by SRLC such as the Scissor Chairs, which they designed for Time + Tide Miavana, a resort in Madacasgar

The wall above the fireplace features a geometric motif inspired by enigmatic Italian architect Carlo Scarpa, known for his fusion of Venetian, Japanese and modernist aesthetics

rom the twin verandas that run across the front of architects Silvio Rech and Lesley Carstens’ house, there’s a 270-degree view over the canopy of Johannesburg’s massive manmade forest. Its breathtaking panorama presents a timeline that sweeps through the history of Johannesburg architecture. Immediately on the right, the story begins with turn-of-the-century English arts-and-crafts mansions built by the randlords, Joburg’s first mining magnates. As you follow the view, a century unfolds in a progression of Art-Deco, modernist and neo-brutalist buildings, culminating in the glassy facades and towers of the city’s new CBD. As partners in work and life — together they run Silvio Rech + Lesley Carstens Architecture and Interiors (SRLC), an award-winning practice perhaps best known for its visionary safari lodge and island-resort architecture, but not averse to the more daring and bespoke end of the residential market — they lived and worked for many years just up the road. The couple was aware that the property at the end of the street had been on the market for a number of years and had proved almost impossible to sell. It was so overgrown with invasive

CRUSH

The roof collapsed during construction, but they rebuilt it according to its original shape, refining some of the details and replacing the yellow pine with beautiful blonde oak, which they also used on the floors. And then, from the base of this little restoration, a new form arose like a spirit released, enveloping the original and liberating a contemporary take on Googie architecture above it, like a thought bubble imagining what the little bungalow always believed it could be. The two ribbons of concrete that run along the front of the house create a colonnade that draws in those cinematic views. Rech points out that the house is, in essence, a deconstructed highveld veranda house, referring to the corrugated-iron-roofed houses with wraparound verandas that became a sort of local vernacular in the early 20th century. “It’s a fantastic way of living in this climate,” says Rech. “A veranda house is very hard to beat. Except that we wanted to do it in the way a modern Googie architect would.” Those “ribbons” not only create an upper and a lower veranda, but they also link the house with the couple’s studio on the other side of the property like “a conveyor belt”. As Rech explains: “It left a valley in between for all sorts of opportunities like the pool

and the spiral staircase linking the bottom and the top.” The master bedroom on the top level “takes the Googie spirit and keeps going”, exploring the language of the zigzag roof into an angular, prismatic sculpture: something like a cross between a stealth bomber and “an early Lamborghini’s dashboard”, as Rech puts it, with a faceted conical skylight. The parts are all “tied together” through the uniformity of the materials. The cast-concrete verandas and pilotis and the polished concrete of the floor are softened and warmed with the oak floors and ceilings throughout the house. The unadorned galvanised-iron handrails and spiral stairs also celebrate their honest materiality and hint at nautical themes; “celebrating the water and the pool and the reflection”, says Rech. The interior architecture is a masterclass in detailing and materiality, from the monolithic rough-granite kitchen island and basins to the moulded-acrylic bathroom units, somewhere between lily pads and lunar craters. In the bathroom fittings, the machine aesthetic is expressed in industrial-agricultural inspired taps and shower fittings, once again toying with the idea of a building as a machine for living.

PHOTOGRAPHY ELSA YOUNG/BUREAUX STYLING SVEN ALBERDING/BUREAUX

The theme is carried through in the furnishings, which have been sensitively inserted into this architectural envelope and set in an ongoing dialogue with it. The couple’s collection of modernist pieces includes the likes of Joe Colombo’s Elda Chair, a bold break with tradition using new materials to find novel forms; Jean Prouvé’s Grand Repos, an early mechanical masterpiece; and Verner Panton’s era-defining cantilevered S-shaped chairs, all pushing the boundaries of technology and aesthetics in one way or another. Mixed in are several of Rech and Carstens’ own early furniture designs, plus some more recent prototypes for clients, including the pool loungers and their take on a Pierre Jeanneret Chandigarh chair, as well as some once-off pieces such as the travertine outdoor dining table. Looking out over the vista, though, you realise that, as much as this remarkable house is an essay on architecture and an exuberant contemporary expression of a tributary of Joburg architectural history, it has never lost touch with its primary reasons for being — to connect with its setting, to drink in the view and to articulate its rocky base through inspired contrast. silviorechlesleycarstens.co.za

MY WORLD

CO MP ILED BY Tha n g o Ntw asa

P H OTO G RA PH Y C hri s Sm i th

I love men with long hair. To me, it represents freedom and there is something so strong about it. I had this torn-up sweater and I thought of a schleppy guy with greasy hair who doesn’t really care.

This picture was a commission for Marni’s new handbag. I imagined a kind of working girl on the go. I like the shapes created by the body and the handbag.

I love crazy hairstyles, unfortunately I’m not brave enough to pull them off myself. I wanted to do a picture with a mohawk because mohawks are so cool to me — they can look good on men or women.

This caftan is actually my mother’s. The print makes me think of the ocean and summer so I paired it with an almostshell necklace. The hair was difficult to get to stay in place but I got it to hold long enough to get the picture.

I’ve always wanted to do an image of a school boy. I’m actually wearing my high-school uniform, but I added the hat because that was the way I imagined him. I like his attitude and his untucked shirt; he’s trying so hard to be rebellious but it’s not really who he is.

Right: This is a fashion picture I created for Dust magazine. The garment is by South African designer Thebe Magugu, whom I think is brilliant. As soon as I saw it, I imagined a woman in a kind of modernist home. I like that you can really see the texture and print of the entire dress in the picture.

Photographer Chris Smith uses Instagram as a canvas for his eclectic, often provocative self-portraits, through which he reveals himself to be a master of metamorphosis. He shares the stories behind the shots, all done in his own bedroom

I had these tulle skirts lying around for a while and I couldn’t think of anything to do with them. After a couple of months, I imagined an early-20th-century society lady in a large hat and tulle sleeve with dramatic makeup.

This was a fashion image commissioned by Marni. I love leather because I think it’s tough and sexy, especially on a woman. This picture makes me think of Charlie’s Angels, don’t ask me why.

In this picture, I’m actually wrapped in two separate pieces of fabric that I folded and pinned into a vague kind of garment. The ponytail is made out of black feathers and someone commented that it reminded them of a pineapple, so now I always think of a pineapple when I see it!

This is actually my own hair. For better or worse, whether long or short, my hair has always just naturally reverted to some sort of bowl shape. When I combed it straight, it made me think of a ’60s mod boy. When I look at this picture now, I think of Modigliani.

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