FASHION E-ZINE | The Edit Spring/Summer 2019

THE EDIT N 13

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beauty

& living Spring / Summer ’19

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contents TREND S 20. T R E N D 24.

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T R E N D monochrome and layers

mix & match prints

BE AU T Y T R E N D gritty pretty

in a cult

32. F E AT U R E

mary sibande

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26. FEATURE

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TREND electric brights

TREND leather updates

sustainable fashion

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THE EDIT N 13

fashion

beauty

& living Spring / Summer ’19

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spri ng/su mm er

FE AT U R E the future of femtech

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F E ATURE i grew up

O PI NI O N dressing for a night out

SUPERNOVA black is back

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floral rush

BEAUTY NEWS summer scents

nigeria’s hot new designers

BE AU TY 57. G O W IT H T H E ’ FRO celebrating natural hair 68.

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18. TRE ND

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35. PROFILE

CO LO UR B LOC K ’60s chic

LI G H T/SH A DE reimagining classics

LAST WO RD the best of japan

ED I TOR I A L EDITOR Sharon Armstrong sharona@tisoblackstar.co.za EDITOR: THE EDIT LIVING Leana Schoeman CREATIVE DIRECTOR Anna Lineveldt MANAGING EDITOR Matthew McClure SENIOR DESIGNER Thembekile Vokwana JUNIOR DESIGNERS Manelisi Dabata and Carike de Jager SUBEDITOR Benazir Cassim BEAUTY EDITOR Nokubonga Thusi JUNIOR FASHION EDITOR Sahil Harilal FASHION INTERNS Nombuso Kumalo and Keabecoe Moshe FINAL EYES Elizabeth Sleith and Lynda Stephenson PUBLISHER Aspasia Karras MANAGING DIRECTOR Andrew Gill ADVERTISING HEAD: ADVERTISING SALES Eben Gewers BUSINESS MANAGER Yvonne Shaff shaffy@tisoblackstar.co.za 082 903 5641 ACCOUNT MANAGERS Letitia Louw (Johannesburg) louwl@tisoblackstar.co.za 083 454 1137; Samantha Pienaar (Cape Town) pienaars@tisoblackstar.co.za 082 889 0366; Gina van de Wall (Durban) vdwallg@tisoblackstar.co.za, 083 500 5325 ADVERTISING CO-ORDINATOR Jamie Kinnear PRINTING Paarl Media Gauteng PUBLISHERS Arena Holdings, 16 Empire Road (cnr of Empire and Hillside roads), Parktown, Johannesburg, 2193 © Copyright Arena Holdings. No portion of this magazine may be reproduced in any form without the written consent of the publishers. The publishers are not responsible for unsolicited material. The Edit is published by Arena Holdings. The opinions expressed are not necessarily those of Arena Holdings. All advertisements, advertorials, and promotions have been paid for, and therefore do not carry any endorsement by the publishers.

www.diesel.co.za

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PRODUCTION NOKUBONGA THUSI PHOTOGRAPHY JUDD VAN RENSBURG PHOTOGRAPHER’S ASSISTANT MASIXOLE NCEVU

TRUNK CLUTCH R49 000 EACH,

HANDBAGS,

LOUIS VUITTON

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1. DRESS, R1 199, POLO 2. BOOTS, R17 400, GUCCI 3. COAT, R2 799, MANGO 4. SHIRT, R999, POLO 5. GLAMOUR DATE WATCH WITH LEATHER STRAP, R30 800, TUDOR 6. JOJO SANDALS, R200, SUPERBALIST 7. HAIR SCARF, R199, POETRY 8. HANDBAG, R37 200, PRADA 9. DRESS, R4 899, DIESEL 10. WITCHERY BLAZER, R2 299, WOOLWORTHS 11. EARRINGS, R80, WOOLWORTHS 12. DOT DASH SUNGLASSES, R349, BILLABONG 13. MULES, R1 099, COUNTRY ROAD

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Phillip Lim: Redefines classic tailoring in understated sandy hues / monochrome accents / soft silhouettes / SKILFUL LAYERING

PHOTOGRAPHY MALEENE HINRICHSEN

partnership

OUR WORLD Sharon Armstrong experiences COUNTRY ROAD’S holistic approach to sustainability, design and quality

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t started with a swimsuit. In a Sandton store. Beautifully designed with an oversized ruffle — I fell in love. I checked out Country Road’s Instagram: there it was, a subtle shift in the product and a large shift in ethos.

I discovered it was made from a percentage of regenerated nylon, using discarded fishing nets and factory offcuts that would have otherwise ended up in the ocean or on landfills. It was all part of a sustainable effort to reimagine and redefine waste.

Fast forward to the Pool Pavilion in Westcliff.

Designed by Silvio Rech and Lesley Carstens,

this minimalist glass box overlooking park-like surrounds was the setting for Country Road’s brand reset event. My clay-coloured swimsuit was there, achingly close to the indoor pool with the rammed earth wall. So was my ultimate summer purchase: the one-shoulder puff-sleeved dress in cotton. It was one of a range of perfectly lightweight summer dresses made from organically grown French linens and cottons, in this season’s palette of sunset hues, vivid greens, and white.

Later on, in the bedroom under an Albert Redelinghuys tapestry, we talked sustainable

fashion with bubbly eco-stylist Jessica Ramoshaba.

She gave insights into everything from timeless design and the importance of superior quality to detailed craftsmanship and how to build a sustainable wardrobe. We have a lot to look forward to in 2020. Country Road’s new managing director, Elle Roseby, has defined a new direction for the brand. I’m anticipating more stylish, sustainable, and quality designs that effortlessly stand the test of time… and perhaps even a sustainable flagship store. countryroad.com.au/our-world

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Sies Marjan: Focuses on luxe fabrication with sharp tailoring / electric brights / clean design / contrasting textures / VIVID SATIN

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1. WITCHERY BLOUSE, R1 399, WOOLWORTHS 2. SKIRT, R780, ZARA 3. DRESS, R1 699, FOREVER NEW 4. BLAZER, R1 399, MANGO 5. HEELS, R13 300, GUCCI 6. PRADA SUNGLASSES, R4 299, EDGARS 7. WITCHERY BELT, R499, WOOLWORTHS 8. WATCH, R990, SWATCH 9. BAG, R37 200, PRADA 10. JUMPSUIT, R1 399, MANGO 11. WITCHERY SKIRT, R999, WOOLWORTHS 12. EARRINGS, R1 299, STERNS 13. STILETTOS, R1 399, STEVE MADDEN

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he Poetry woman is at home in the hazy heat of high summer, during long days of outdoor entertaining and spending quality time with family and friends. Poetry’s accessory collection and tableware range for spring/summer are bursts of fresh, creative, colourful texture and detail. Heading to the beach?

Effortlessly stylish straw hats are a must. Pack your essentials into Poetry’s vegan-leather bags with updated, contemporary detailing in resin and wood.

Jewellery is fun and artisanal — just the right addition to that gorgeous summer dress. The Poetry homeware range has been updated with earthy, artistic detailing. Collaborations with local artisans like Gemma Orkin have launched ranges of hand-painted bowls that are practical statement pieces. Textiles are fresh and bright for tea on the terrace, and cast-iron teapots whisper of journeys to the East. Up-to-date, on trend, and true to herself, the Poetry woman embraces the season.

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Out of Office Poetry’s SS19/20 fashion and homeware collections evoke rich textures, bright colours, and the laid-back lifestyle of the holidays

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1. MYRA ABSTRACT PRINT SILK SCARF, R299; MOIRA LEATHER SMALL POUCHES IN PINK & YELLOW, R250 EACH 2 IRENE VEGANLEATHER HANDBAG WITH RESIN HANDLES IN TAN & GREEN, R450 EACH 3. DAYANA BOATER FRAYED EDGE STRAW HAT, R299 4. MINI TASSEL DROP EARRINGS, R99 5. RARE EARTH WOMEN’S CHIARA WEDGE IN WHITE, R1 399 6. FROM TOP: TANGER MEDIUM BOWL, R199; DARK BLUE & SAGE SALAD BOWLS, R399 EACH; SCRAFFITO DINING PLATES, FROM R115 EACH 7. WHITE CAST-IRON TEAPOT WITH GOLD HANDLE, R399 8. CHEESE BOARD AND KNIFE SET, R799 9. ILLUSTRATED NOTEBOOKS, FROM R55 EACH 10. FYNBOS MUG LILAC, R180; FYNBOS CERAMIC TAPAS BOWL, R120; PRINTED TEA TOWELS, FROM R99 EACH

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1. DRESS, R3 180, TED BAKER 2. HANDBAG, R79 600, GUCCI 3. BLAZER, FROM R2 499, SCOTCH & SODA 4. DRESS, R4 580, TED BAKER 5. GUESS SUNGLASSES, R1 990, SDM EYEWEAR 6. PLATFORM HEELS, R13 500, GUCCI 7. HANDBAG, R30 000, LOUIS VUITTON 8. DRESS, R3 580, TED BAKER 9. BLAZER, FROM R2 499, SCOTCH & SODA 10. SKIRT, FROM R2 499, SCOTCH & SODA 11. PLATFORM HEELS, R17 400, GUCCI 12. CLAIR DE ROSE BRACELET WATCH, R33 800, TUDOR

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Givenchy: Reinterprets dark florals through a sensory feast / statement eyewear / VOLUMINOUS SILHOUETTES / ethereal fabrics

Available in store and online www.polo.co.za @polosouthafrica

The Edit - Nov 19 - Living.indd 1

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R13: Skating culture reimagined fusing leopard / camouflage / denim & old-school check / SPORTS MEETS STREET

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1. ANIMAL PRINT SHORTS, FROM R1 899, SCOTCH & SODA 2. SNEAKERS, R13 300, GUCCI 3. SHIRT DRESS, R4 999, DIESEL 4. BAG, R3 799, DIESEL 5. SHORTS, FROM R1 899, SCOTCH & SODA 6. CARGO BAG, R30 800, PRADA 7. SHORTS, FROM R1 899, SCOTCH & SODA 8. JEANS, R4 899, DIESEL 9. BUCKET HAT, R179, SUPERBALIST 10. BELT, R229, POETRY 11. TOP, R499, WOOLWORTHS 12. SNEAKERS, R1 099, POLO 13. LEATHER POUCH, R250, POETRY

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1. WITCHERY BLAZER, R2 299, WOOLWORTHS 2. BOOTS, R1 399, MANGO 3. TANK TOP, R450, POETRY 4. JEANS, R4 899, DIESEL 5. GOLF SHIRT, R699, POLO 6. SKIRT, R450, FOSCHINI 7. CROSS-BODY BAG, R899, POETRY 8. MULES, R1 599, COUNTRY ROAD 9. TROUSERS, R799, POETRY 10. T-SHIRT, R99, MRP 11. ALDO SNEAKERS, R1 199, SUPERBALIST 12. JACKET, R11 999, DIESEL 13. BOOTS, R1 199, MANGO 14. MANGO BAG, R199, SUPERBALIST 15. JACKET, R949, MANGO 16. KNIT, R120, MRP 17. LEGGINGS, R350, FOSCHINI 18. CLUTCH BAG, R70, MRP 19. SISSY BOY BOOTS, R500, EDGARS 20. DRESS, R699, MANGO

IMAGES GETTY IMAGES/CLAUDIO LAVENIA/CHRISTIAN VIERIG/HANNA LASSEN/ DANIEL ZUCHNIK/EDWARD BERTHELOT AND SUPPLIED

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Summer’s coming early, so add these new launches to your lust list

ON THE EDITOR’S SHELF:

TRIGGER HAPPY

hen this scent landed on the beauty desk, we had no choice but to fall in love with the partner to the already adored Azzaro Wanted pillar fragrance. Try not to do too much damage with this little pistol as this floral oriental scent is the goldilocks that we dream of. It’s not too fruity or sweet, with ginger flower and orange blossom, and has just the right amount of delicious gourmand elements, such as tonka bean and dulce de leche.

Azzaro Wanted Girl EDP 50ml R1 350

It’s no secret that Elizabeth Arden’s ceramide capsules are close to having cult status.

So when the follow-up to its retinol capsules were brightening vitamin C capsules, the skincare gods rejoiced. These tiny capsules really do some heavy lifting as potent vitamin C and ceramides come together in an oil-serum packed with avocado, sunflower seed, and olive oils to

While we wait for full-blown summer and dream holiday trips, we’re stamping our olfactory passport with this fragrance collection from Berdoues. From Indonesian vetiver and Brazilian tonka bean to South African buchu, these scents include the best ingredients from over 11 different countries and come housed in printed bottles fit for your vanity. We’ll just be over here dreaming about all our bucket-list destinations with every spritz.

DRENCHED IN ARDEN leave the skin supple, brighter, super hydrated, and never greasy. Elizabeth Arden Vitamin C Ceramide Radiance Renewal Serum, 60 capsules, R1 025

Wanderlust, bottled Berdoues Collection Grands Crus EDP, 100ml, R1 595, exclusive to Foschini

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oolworths and world-famous makeup artist Sir John have just armed us with the perfect summer beauty arsenal and, honestly, we’re freaking out. The exclusive makeup collection is back, aptly named Volume 2 after Volume 1 flew off the shelves a few months ago. Once you get over the cheery graphics of the packaging, expect a bolder palette featuring runway shades such as lilac, fuchsia, and royal purple and the same easy-to-blend, high-colour payoff we’ve come to love. Sir John x WBeauty Volume 2 Eyeshadow Palette, R399; Sir John x WBeauty Volume 2 Makeup Brush Set, 3pc, R420

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R13

Gritty Pretty We’ll take our black liner smudged, textured, and lived-in as the ultimate statement of cool The trend: Cool-girl liner The inspiration: Smudged Seen at: R13, Dior

up, day-old black liner

Top Tip:

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Smudge some flecks of mascara onto the eyelid and along the lash line to give a gritty texture to your smoky eyeshadow or liner

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Wet-look hair or long braids and a floral-woody scent with bite

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all it walk-of-shame liner, grunge liner, or after-party eyes, this season the smoky eye is having a serious moment. The beauty classic that has transcended generations and genders, black-rimmed eyes have looked effortless and cool on everyone since the days of ancient Egypt’s Cleopatra, or rock bands such as 30 Seconds to Mars and Mötley Crüe. There’s almost a sense of anarchy to having a blackened eye that looks a

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day old or as though you jumped into the pool sans any waterproof formula. At Dior, it was an haute-couture staple, as liner and shadow were worn tightly wrapped around the eye but messy and feathered at the edges. The R13 SS20 show exhibited a smoky eye that looked more emollient and multi-dimensional, with chocolatebrown kohl blended over the entire lid as a base and layered with the blackest eyeshadow to be found, flecks of shimmer, and a hint of gloss to bounce in some light.

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1. JIMMY CHOO ILLICIT FLOWER EDT 100ML R1 395 2. GLO SKIN BEAUTY CREAM STAY SHADOW STICK IN PITCH, R470 3. GOSH METAL EYES EYELINER IN HEMATITE, R111 4. 3INA THE COLOUR KAJAL IN 400, R200 5. 3INA THE AUTOMATIC EYE PENCIL IN 304, R200 6. DIORSHOW PUMP ‘N’ VOLUME WATERPROOF VOLUMISING MASCARA, R645 7. CHANEL ROUGE COCO GLOSS IN LAQUE NOIR, R575 8. CHANEL LES 4 OMBRES IN NOIR SUPREME, R980

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ORANGE CULTURE

Autumn/Winter 2019 Photographer: Jesse Navarre Vos

B LOKE

Spring/Summer 2019 Photographer: Daniel Obasi

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TEXT Nothemba M khondo

he world’s gaze is locked on Africa. The fashion, the people, the culture, the stories — all eyes are on what is happening not only in South Africa, but also in Nigeria and beyond. In Lagos, more designers are tapping into their Nigerian heritage and environment. A new Nigerian fashion industry is emerging, and the fast-paced city is now a hotspot for fashion talent.

Nigerian menswear, in particular, has come a long way in the past few years. Designers like Adebayo Oke-Lawal of Orange Culture, Tokyo James, Faith Oluwajimi of Bloke, and recent LVMH Prize finalist Kenneth Ize are leading what can only be described as a sartorial revolution in the country’s menswear industry.

Designers are recreating traditional garments for everyday wear and creating a fresh new vernacular for African menswear that stands out on the global stage.

Oke-Lawal describes Orange Culture as fearless, emotional, and creative.

He says he is “trying to break boundaries and subvert stereotypes” with his vibrant, prints-based brand. Tokyo James describes his eponymous label as a brand that considers what the man today wants and provides a balance between streetwear and the suit. “I think a lot of androgynous brands tend to design and steer towards femininity. I wanted to create a brand that was the opposite, where it was 70% towards men, in the sense of aesthetics, and then also make it softer. Our ethos is simplicity with an edge — the edge for me is that femininity,” he explains.

Bloke is an androgynous artisanal brand with knitwear in its DNA. “We’re trying to introduce the definition of luxury through a quirky and artsy design aesthetic,” says Oluwajimi. The brand has a strong focus on artisanal techniques, including hand-dyeing, hand-embroidery, and screen printing.

These designers are just a few of the talented individuals redefining dressing for the new Nigerian man, one who is markedly different from the conservative, traditional man who existed just five years ago.

Changing definitions, both

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globally and locally — of masculinity are at the heart of this movement. Oke-Lawal started Orange Culture to challenge and redefine notions of masculinity and create conversations around stereotypes.

“I feel like a lot of us here, as men, are repressed because of how we’ve been developed as men based on our culture. I think that really traces back to the fact that we were colonised and how we were taught to view ourselves and communicate ourselves as black men,” says Oke-Lawal.

“I remember my first collection got the worst reviews.

People were like, ‘Why are men wearing these colours? You’re trying to change the way men dress, you’re trying to make men feminine, you’re trying to do this and that.’ And people sent me all these messages saying, ‘You’ll go to hell for doing this’,” he recalls.

But he pushed through the backlash and has since become a renowned fashion designer recognised for his audacious and necessary approach to changing the way Nigerian men dress and relate to each other.

The Nigerian designers redefining African menswear

T OKYO J AM ES

Spring/Summer 2019 Photographer: Anika Molnár

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“All of the little things like the fabrics, the silhouettes, the shoots, the models — everything is consciously done to create those conversations. People say men shouldn’t wear silk or men shouldn’t wear certain colours.

Why? It’s more problematic than it is good because a lot of people feel like, if they aren’t using those exact markers, then maybe their masculinity or their sense of

being is being questioned,” OkeLawal adds.

Similarly, Oluwajimi created Bloke as a brand that pushes against the confines of masculine and feminine expectations in clothing.

“I called the brand Bloke because when I was starting out, I wanted to explore the notion of hyper-masculinity — at that time in Nigeria there was a much

more closed-up view of how men could dress, and also a lot of ideas surrounding what a man should be like. But it’s different nowadays compared to 2015; people are much more open now than they were before,” Oluwajimi says.

“I’ve always had this idea that clothing should be treated as objects. When a man sits down on a chair, it doesn’t change it

029 from being a chair. A woman will sit down on a chair and it doesn’t change the function of it being a chair. In its real essence, clothing is used to cover and adorn people’s bodies.

It doesn’t have to be restricted only to a masculine or feminine gender, we should allow clothes to just be clothes.”

Essentially, these designers are tapping into what matters to them most, and that’s what makes them stand out. It’s personal and authentic, and authenticity is gold in the world we live in today. “I try to use the brand as a vehicle for talking about topics and changes, and I try to drive discussion and changes that would otherwise likely never happen,” says James.

Gender norms aside, the city of Lagos seems to be a well of inspiration for its designers.

They credit their Nigerian upbringing and experiences as integral to who they are as designers and the clothes that they produce.

“I grew up in Lagos, I went to school in Lagos, my family’s here. So for me, Lagos is really who I am. I can travel, I can do all sorts of things. Lagos is literally my entire essence, my brand,” says Oke-Lawal. “I always say it’s not going to be a wax print and it’s not going to be some clichéd version of what people say Africa is supposed to be. We’re reinventing what Africa really is and telling that story. Because I’m African, I’m Nigerian, and that’s my story. No one has the right to tell me how to tell it,” he continues.

Fittingly, these fiercely proud creatives are designing and producing their collections using locally sourced textiles, local artisans and traditional techniques, and shooting their campaigns with local creatives. They’re pushing each other to get better, and we are seeing the results.

“It’s because of the years of great designers coming out of the continent, constantly pushing the narrative and doing their part to chip away at the stereotypes of what it means to come from the continent. Designers are starting to understand the nuances of fashion

“We’re reinventing what Africa really is and telling that story.

Because I’m African, I’m Nigerian, and that’s my story” and how to play the game on the global stage better. I think the industry has started to understand and be able to balance creativity and commercial interests,” says James.

And all the designers are benefiting from the spotlight. The world is no longer just watching and appropriating, but increasingly appreciating and supporting the stories and design talent coming from the continent. This will have a ripple effect on the developing industries and brands in the long term.

“It’s a very interesting time for anybody working in Lagos and also in Africa. I feel that it has helped in raising awareness about what we do here and also made people see what we’re doing as creatives, which means that our work can now stand anywhere in the world,” says Oluwajimi.

He adds that the globalisation of ideas has largely contributed to the rise of the Nigerian fashion industry and the global gaze currently on it. “I feel social media and the internet are one of the biggest factors. Because now with Instagram, you can see what’s going on in a continent that’s miles away from Africa and see what other creatives are doing. You can see the level of ingenuity they put into what they put out and you can see the vision.

People are always watching, so I feel like everyone is on their toes and making sure that, at any given time, we try to do our best. So that’s a big driving force right now.”

These newly opening doors are also inevitably laying a path of endless possibilities for future designers. “Being young and having the opportunity to retell and redirect the story and control the narrative is so important to me because I didn’t have a lot of people who were communicating that narrative to me when I was growing up,” says Oke-Lawal.

“It’s helped a lot of menswear designers say, ‘Okay, if he can do it, I can do it. I can tell these stories, I can take risks and still actually progress.’ So we helped open the eyes of many people to see that you don’t need to create a certain way to fit in and you don’t need to even fit in — you can create your own box, your own space, and your own narrative.”

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AS TOLD TO Aspasi a Karras

ILLUSTRATION Cari ke de Jager

An anonymous woman speaks to The Edit about her experience of growing up in, and leaving, a cult

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ne person’s cult is another’s on a Wednesday evening and twice on a Sunday. There religion,” says Daniel Shaw, a are no preachers or priests — only elders. “Workers”, or psychologist who specialises in “friends”, are sent to other countries, like an exchange cult survivors. He should know, programme. So SA sends people to Japan, Mauritius, he is a survivor of a cult himself. Calling a movement Brazil. Twice a year there is a special meeting for a cult is a subjective term, which is why he prefers a provinces, and once a year there is a national convendefinition that speaks of a “high degree of control, tion. It lasts for four days, with three meetings a day. All manipulation, coercion, exploitation, and abuse”. socialising is done there and you can meet your potential By these standards, the experiences of “anonyspouse. You communicate by letter after that. mous” would qualify as a cult. This is her story, as You must stay separate from worldly things. There told to us. are many unwritten rules: no dancing, no music other “I had a crisis of faith when I was about 10 or 11. than hymns, no sport, no films, no TV in your home.

I was staying at my grandmother’s house — my When I left, I had never worn trousers. God wants simple parents had gone on vacation to the Kruger Park. We people, so no jewellery. Women are never encourlearnt that there was going to be an eclipse during the aged to work — the man is the breadwinner and day. My grandmother, who was the matriarch of our women are meant to stay at home and look after the family, was convinced that this was the sign of the end children. This is “the way”. You get married straight of days. She was sure that the out of school and have lots eclipse would signal the apocaof children. The system works In an Atlantic magazine article, the founder lypse. She had us three children because the women are the of IHOP (a religious on our knees praying furiously enforcers. They suppress scancommunity that believes during the eclipse. I was hysterdals and wrongdoing (like affairs in a continuous 24-hour cycle of prayer), Mike ical because I knew my father and sexual abuse), creating a Bickle, created a list of was not a member of our church, culture of secrecy and non-conways to recognise the so he would be lost forever. I was difference between a frontation — ‘God will sort it out’. religious community bereft; how would we get hold I lived in fear and a constant and a cult. of him to ensure he could be state of anxiety, for myself, for saved at the last minute? When never being good enough, and the eclipse passed and everyespecially for my father, who • Opposing critical thinking thing continued as normal — did not belong to the church.

• Isolating members and the apocalypse never came I was convinced he would live and penalising them — I just couldn’t take anything in eternal damnation. But the for leaving • Emphasising seriously anymore. fact that he could continue special doctrines outside scripture • Seeking The church has no name. to live outside the church was inappropriate loyalty For many years, I believed that also a glimmer of light. He was to their leaders this was because it was the full of life and fun; he loved bars, • Dishonouring the family oldest church, descended insisted that we go to public unit • Separation from directly from Christ, who had not school, and scandalously introthe church named his church. Years later, I duced a TV into our home. His persuaded my cousins to look on the internet, where marriage to my mother was considered completely Wikipedia explained that the church had been founded taboo. It was a very dangerous love affair — her mother by an evangelical missionary in Ireland called William and sisters maintained a close watch on her and us, Irvine in the late 19th century, and his teachings had lest we stray off “the way”. rapidly spread all over the world. People outside of the I finally made a break when I went to university in church call it by various names, for example, the Two by Johannesburg. The “workers” immediately found me and arrived at my dorm to take me to the meeting on the Twos. This is because the “workers” or ministers move first Wednesday I was in town. I said I was obliged to stay in twos from community to community, as they receive at the university for O-week. And then I made excuses a calling to spread the word and give up their worldly every week. They tried very hard to get me to go, but possessions. They travel the world like the original I had made my mental break when I was still a child. disciples. There is no doctrine, or scripture other Now I could do it physically, but it was very hard. I was than the hymn books. The “workers”, who are guilt-ridden and convinced I would be damned if the not paid but rather survive on donations from the apocalypse came. It took me years to get the church out community, preach in people’s homes. There is no of my head. I am not sure I will ever be truly free — they formal church housed in a building. The idea is that, as still try to bring me back into the fold. with the original Christians, meetings happen at home:

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year of awakening is what The Business of Fashion called 2019 in the annual State of Fashion report, and with the end of the year in sight, it’s safe to say it was spot on. It’s been a year of reckoning for the multimillion-dollar global fashion industry, with some significant changes signalling a much-needed wave of change towards a better future.

To begin with, in an unprecedented move, Stockholm Fashion Week was cancelled. As one of the top-polluting industries in the world — beating the airline industry in carbon dioxide emissions — and with global warming a pressing concern for all, there is growing pressure to change industry practice urgently.

Since fashion week is the foundation of all fashion, it’s a great place to start.

It’s where designers and brands get customer buy-in, where retail buys its stock, where fast fashion discovers and replicates its trends. And with every new season, it’s where the cycle starts all over again.

The changing tide of fashion

The system is rapidly changing and “sustainability” is becoming more than just a buzzword

Lu kh a n y o Mdi n gi

The Swedish Fashion Council’s decision to cancel fashion week may have been controversial but it was an almost necessary way to press a “reset” button on the industry. “If the fashion industry is to survive with the planet, we must oversee volumes and develop new business models. To progress the transformation, the fashion industry requires market-relevant branding formats that generate new revenue streams, and innovation for sustainable development through cross-sector collaborations,” said the Swedish Fashion Council in a statement.

It’s been a tough year or so in fashion. Brickand-mortar retail was down — even Barneys, the century-old New York department store, filed for bankruptcy recently — and excess inventory in fast fashion has become a huge problem, with brands like H&M being stuck with $4-million of unsold stock. Worse still, fashion waste is at an all-time high, with about 14-million tonnes of clothing having been thrown out by Americans every year. In this climate, it’s become increasingly important for brands to be environmentally conscious — not some time in the future, but here and now.

The structure of fashion week has looked the same for a long time now — spring/summer and autumn/ winter, with couture, cruise/resort and pre-fall shows scattered in between. Built upon this foundation, the fashion machine has only become faster, and the democratisation of fashion and runways has made brands more accessible and more desired — creating a seemingly insatiable appetite for more must-have clothing. Brands have only fed into this as they experimented with new models like see-now-buy-now and the ever-popular exclusive “drop” — a limited release of merchandise. But as fashion’s perpetual merry-go-round spins on, the novelty of newness is wearing thin as consumers have started caring more about not only single-use plastic, but also the life cycle of the garments in their wardrobes. People’s priorities are slowly changing, and sustainable and quality products are starting to steal the shine from on-trend, seasonal pieces.

We are finally starting to see sustainability become more than just a buzzword that brands throw around, as they are making real plans to be more sustainable and eco-friendly now, and in the long term. Gucci claims to have gone carbon neutral across all its operations, Zara intends for all its collections to be made from 100% sustainable fabrics before 2025, and over 32 fashion giants, including Burberry, Chanel, Prada, and Stella McCartney recently committed to a Fashion Pact to “reduce the environmental impact of their industry,” launched at the G7 Summit.

Five sustainable local brands to buy now and keep in your wardrobe forever

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sustainability

TEXT Nothemba M khondo

Love Sustainable

LOCAL

Lukhanyo Mdingi De si g n e r Lu k h an yo M di n g i i s al l abo u t co n sci o u sl y co n si de re d, t i me l e ss, an d g e n de rl e ss g arme n t s wh i ch h e cre at e s u si n g t h e be st -qu al i t y mat e ri al s h e can fi n d.

T e x t i l e s are at t h e h e art o f M di n g i ’s bran d as h e fo cu se s o n t e x t i l e so u rci n g an d de v e l o pme n t t o cre at e re fi n e d pi e ce s t h at wi l st an d t h e t e st o f t i me . l u k h a n y o md in g i. c o . za

Asha : Eleven Ash a : E l e v e n i s al l abo u t t i me l e ss an d t ran s-se aso n al fash i o n made wi t h raw mat e ri al s an d t e x t i l e s t h at are e i t h e r 100% n at u ral o r are re cycl e d/ u pcycl e d.

No n e w pl ast i c mat e ri al s are u se d in any part of its products. ashaeleven.com

Marianne Fassler Marianne Fassler’s distinct and eccentric brand is all about unique and superbly crafted garments.

It engineers its own fabrics and never throws away scraps, as well as repurposes leftovers to create new, unique pieces. l e o p a r d f r o c k . c o . za

Lunar Lu n ar i s a wo me n swe ar bran d t h at i s n o t o n l y i n spi re d by n at u re , bu t i s al so k i n d o n t h e e n v i ro n me n t . I t u se s n at u ral pi g me n t dye s an d mat e ri al s l i k e l i n e n , h e mp, si l k , bambo o , o rg an i c co t t o n , an d wo o l – fabri cs fro m t h e e art h . l u n a r l if e . c o . za

Sindiso Khumalo T e x t i l e de si g n e r S i n di so Kh u mal o cre at e s mo de rn , su st ai n abl e t e x t i l e s wi t h a st ro n g e mph asi s o n Afri can st o ri e s. Kh u mal o cre at e s h e r o wn pri n t s an d u se s su st ai n abl e fabri cs, i n cl u di n g o rg an i c co t t o n , si l k , an d E c o n y l to create her vibrant, longl ast i n g pi e ce s. s in d is o k h u ma l o . c o m

Locally, SA Fashion Week (SAFW) has committed to a five-year plan to develop a sustainable local-design culture and establish a “local fashion ethos that supports people, the environment, creativity and profit in equal measures,” it said in a statement. SAFW plans to use its existing platforms like the New Talent Search, the Cape Wools Designer Challenge, and the SAFW Student Competition to encourage circular economic practices by using critical criteria to evaluate the sustainability of fabrics and crafting techniques used by designers. It will also be launching a curriculum of sustainable fashion workshops to teach designers the skills and knowledge needed to develop viable and sustainable businesses.

What we need is more of all of this.

We need to break down the existing systems and processes in fashion and replace them with newer, more earthfriendly alternatives. As American fashion designer Misha Nonoo wrote in an op-ed on the Business of Fashion website, “Imagine if the millions of dollars it often takes to stage a top-tier fashion show were spent on manufacturing innovation that’s more in sync with the future than the past?”

If we remove the grand and now superfluous spectacle of fashion week, and the showy culture of street style that comes with it, from the equation, what would a world without fashion week look like?

Perhaps more direct-to-consumer strategies, increased on-demand manufacturing practices, or maybe brands using social media to show their collections? But the real goal?

More circular fashion products.

We don’t need a world sans fashion week. We do need to overhaul the system and work at its core. We need to strip fashion week back to its original form and focus on the clothes themselves — the innovation and the eco-friendly solutions that will create better clothes that are better for the planet. That’s all that really matters anymore.

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opinion

TEXT M odupe Oloruntoba

ILLUSTRATION L’M ri Erasmus

Beyond Sequins

I

am sorely lacking in my experience of after-dark social settings — an irrational fear of imposition and my 99.9% sober habits are mostly to blame. I tried and failed to get into the bonding routine of after-work drinks. It always feels like I’m making the evening much less fun for whoever kindly included me (or managed to drag me along), and sitting at a bar makes me feel like a fraud. So do champagne flutes filled with Appletiser, and the waiters who hand them to me.

The final nail in my granny coffin? I despise the combination of closed, cramped spaces and loud noises.

I’ve made improvements, but with my first summer in Johannesburg on the horizon I’d like to level up, and that has presented an old challenge anew. I find myself at the ripe old age of 26 with no sense of style in the context of what people call nightlife.

In other areas of my life, I often battle social anxiety with an outfit that boosts confidence and

Strategies for social dressing, which I never learned to do

gets compliments — it usually involves a slick blazer and equally slick boots — but in this one, I am as lost in my wardrobe as I am at a party. I buy dresses that seem to fit the bill: somewhat short, somewhat shiny, with no regard for whether they are my style or not, and I do it because I hate feeling unprepared. I fear getting stuck trying to meet a dress code without lead time, without options, and without any real idea of what people who aren’t Woo Girls™ or models trying to sell me sequins would really wear after 9pm. What if I get invited out dancing next time Michael B Jordan is in SA? I shudder at the thought.

I used to think the real problem was that I had not yet met a subcategory of “going out” clothing that’s definitively me, but the truth is that I haven’t really tried. So last weekend I did just that, mounting a solo expedition to the mall in the name of research. I set rules: no arguments would be made for denim, extra points would be awarded for dresses, and I’d get a few more for anything that wasn’t black. I walked in, optimistic, and learned a few things.

For example, short and shiny is open to interpretation. It can be tight and covered in glitter (too look-at-me for me) but it can also be a freeflowing satin camisole-dress with an asymmetrical hem just past the knee and tiny straps tied into a Y at the back (just right, and found at Zara). More important qualities: slinky, light, sheer, and sometimes embellished. Fabric choice is obviously imperative, but straps were surprisingly important too. Start with spaghetti and work your way out.

I hope you’re taking notes.

My next lesson: there is more to life than short and shiny. If you’ve got enough personality to get past the door in whatever you have on, a surprising array of outfits qualify without needing to be defended. For your consideration: a midnight-blue corduroy suit from Country Road — let me finish — that I know for a fact would make me feel like I was wearing Cate Blanchett’s green, three-piece velvet suit we all gawked over in Ocean’s 8. It might need a plunging neckline, killer accessories, and jealousy-inducing hair, but it works if you work it. So do jumpsuits — so many jumpsuits.

Finally, I learned that the return of the ’80s is good for everyone. I’ve long held the opinion that the difference between dressed and well-dressed is a little intention, and ’80s fashion puts much more than a little on display. It’s incredible what a statement sleeve and a loud buckle can do to make you look like you tried.

035

profile

TEXT Nothemba M khondo

ILLUSTRATIONS L’M ri Erasmus

What book has had a lasting impact on you?

The Body in Pain by Elaine Scarry. When I was working on my purple body of work, I wanted to create works that protest. It was a good book, I needed it at that time.

What has been the most memorable moment in your career to date? I was invited to be the Virginia C Gildersleeve professor at New York’s Columbia University in April. I held lectures about the history of South Africa, what inspires me, and how I work.

Describe your favourite item in your wardrobe.

A pair of kung-fu-inspired, turtle-toe boots — they look like those worn by samurai warriors. I wear them when I want to bring that fighting spirit — but in a very calm way. They’re my secret weapon.

a life illustrated

Renowned contemporary South African artist Mary Sibande is interrogating not only our history but also modern life in a post-apartheid era

What is your secret talent? I love cooking and experimenting, especially with exotic dishes.

Finish this sentence: If I weren’t afraid, I would… Climb Mount Kilimanjaro.

What is your secret vice? My visual diary.

I carry it everywhere.

What is your most treasured item? I collect erasers. I treasure them because I collect them wherever I go around the world so they remind me of the places I have been. When I did a residency in Paris, the curator of a show I did gifted me a cloud-shaped eraser.

What is the last item you bought and loved?

I recently bought a dress, and I don’t wear dresses because I’ve always felt like I look awkward in them.

It’s a black, long-sleeve with a turtle neck and it goes just past the knees.

If you could collaborate with anyone, living or dead, who would it be? I have this obsession with the idea of talking to Steve Biko. I like that arrogance he had. I would love for him to interview me and write what he liked.

gift guide

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ravel to Japan with Collection Grands Crus Somei Yoshino, a delicate and luminous floral fragrance that’s perfect for summer. 100ml EDP, R1 595

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s you tuck into delicious festive fare this December, you’re going to want a red wine that complements those rich roasts and puddings. Boschendal Black Angus 2016 envelops you with notes of berry, plum, winter spice, and roasted cacao bean on the first taste, slowly seducing you with a follow through of mulberry, black cherry, cassis, and black pepper. The blend of shiraz, cabernet sauvignon, merlot, and malbec should be a family table staple for the season.

Boschendal Black Angus 2016 is part of Boschendal’s Heritage Collection, a range of limited-release wines that pay homage to the estate’s 330 years of winemaking expertise.

R288

Boschendal Black Angus 2016

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asterly crafted Tokara XO potstill brandy captures 15 years of perfection. It’s luxurious and complex with mellow honey and dried fruit in the age-old cognac tradition. R895

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Luxury in a bottle

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avish your loved ones, or even yourself with nourishing, luxurious care this festive season with The Body Shop’s carefully curated gift sets, perfect for pampering. thebodyshop.co.za

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This festive season, caring comes in threes

1. Indulge your inner child with The Body Shop’s Rocket Gift Set. If you’re a fan of fruity and fun strawberry and coconut, then start the countdown and explore the range of bath bombs, shower gels, and hand creams designed to encourage out-of-this-world relaxation and self care. Five, four, three, two, one… R300 2. Treat your skin and your conscience with The Body Shop’s Soothing Almond Milk and

take the guesswork out of FESTIVE-SEASON

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Boschendal’s Jean Le Long Prestige Cuvée Blanc de Blancs languishes on the lees for a minimum of five years to give it complexity and richness. The 2008

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vintage was disgorged in 2018 to ensure a beautifully fresh, tantalising cap classique. It’s also officially the best cap classique in the country, having won this year’s Amorim Cap Classique Challenge.

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Trio contains all of the brand’s special body-butter ranges for this year, and they’re all bound to evoke the Christmas spirit with scents like Warm Vanilla, Juicy Pear, and Rich Plum. R200

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Gift yourself with an Environ glow

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shopping with our special gifting picks

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A whole new luxury experience.

The luxury brands availible at Dore include

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www.dorefashion.co.za

SWIMSUIT, R1 250, GABRIELLE SWIMWEAR; HEAD PIECE, PRICE ON REQUEST, STUDIO LENNIE; EARRINGS, R120, PART OF SET; NALEDI CUFFS, FROM R150– R160, ALL

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WOOLWORTHS

Black is back. Dominate in leather, sequins, & lace

fashion

PRODUCTION Sharon Armstrong

PHOTOGRAPHY Steve Tanchel

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BUSTIER, STYLIST’S OWN; JACKET, R1 699, GUESS; LEGGINGS, R2 500, KAREN MILLEN; SUNGLASSES, R30, MRP; EARRINGS, R120, PART OF SET, WOOLWORTHS; BANGLES, FROM R699–R1 599, ALL AMERICAN SWISS OPPOSITE PAGE: DRESS, R51 000; CUFF, R12 000; BOX BAG, R47 000, ALL LOUIS VUITTON; HAT, PRICE ON REQUEST, STUDIO LENNIE; ANA SRDIC CUFF, R9 600, THAT’S IT; STUART WEITZMAN BOOTS, R9 995, SPITZ

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KNIT JERSEY, R3 399, DIESEL; CAP, R299, ALDO ACCESSORIES OPPOSITE PAGE: VEST, R8 980, CLIVE RUNDLE; WITCHERY BUSTIER, R599; BIKINI BOTTOMS, R199, BOTH WOOLWORTHS; MARIA CALDERARA EARRINGS, R6 150; MARIA CALDERARA CUFF, R5 450, BOTH CATHERINE GAEYLA FASHION; BOOTS, R270, MRP

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044

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JUMPSUIT, R1 499, GUESS; EARRINGS, R120, PART OF SET, WOOLWORTHS; MARIA CALDERARA NECKLACE, R6 450, CATHERINE GAEYLA FASHION; BELTS, R399 EACH, ALDO ACCESSORIES OPPOSITE PAGE: DRESS, R10 000, VIVIERS; EARRINGS, R120, PART OF SET, WOOLWORTHS; BAG, R699, ALDO ACCESSORIES; STUART WEITZMAN BOOTS, R9 995, SPITZ

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BUSTIER, R9 000; TROUSERS, R35 000; SNEAKERS, R13 000, ALL DOLCE & GABBANA; CUFFS, FROM R499–R680, ALL ATHENA A OPPOSITE PAGE: HARNESS, STYLIST’S OWN; MESH T-SHIRT, R2 200; SHORTS, R5 500, BOTH VIVIERS; SUNGLASSES, R60, MRP; RINGS, FROM LEFT: BERYL DINGEMANS, R3 300 EACH, THAT’S IT; FROM R550–R699, BOTH ATHENA A; BERYL DINGEMANS, FROM R2 200–R4 200, ALL THAT’S IT

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fashion

PRODUCTION Sharon Armstrong

DÉCOR Leana Schoeman

PHOTOGRAPHY Travy s Owen

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COLOUR

BLOCK paint, Lovage on walls and Old Leather on floor, used throughout, Universal Paints

ERMANNO BY ERMANNO SCERVINO TANK TOP, R6 600; ERMANNO BY ERMANNO SCERVINO TROUSERS, R5 600, BOTH CATHERINE GAEYLA FASHION; EARRINGS, R1 250, REMINISCENE; BOOTS, R32 500, GIORGIO ARMANI, VITRA WHITE METAL SIDE TABLES DESIGNED BY RONAN & ERWAN BOUROULLEC IN 2004, FROM R7 306–R8 444, CUBE GALLERY OPPOSITE PAGE: JUMPSUIT, R53 000, GUCCI; KITTEN HEELS, R2 690, EUROPA ART SHOES; VITRA FAUTEUIL DIRECTION CHAIR, DESIGNED BY JEAN PROVE IN 1951, R27 514, CUBE GALLERY

049

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paint, Red Hot Kiss on walls, Universal Paints

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DRESS, R63 650, PRADA; LIZ LOUBSER EARRINGS, R11 500, TINSEL GALLERY; VITRA SOFTSHELL CHAIR DESIGNED BY RONAN & ERWAN BOUROULLEC IN 2008, R7 685, CUBE GALLERY

paint, Honey Dew on walls, Universal Paints

051

SHIRT, R3 650, PAUL SMITH; EARRINGS, R12 995, GIORGIO ARMANI

paint, Honey Dew on walls, Universal Paints

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TUNIC, R14 000; TROUSERS, R12 500, BOTH GUCCI; KITTEN HEELS, R2 690, EUROPA ART SHOES; VITRA POLDER SOFA DESIGNED BY HELLA JONGERIUS IN 2015, R105 893, CUBE GALLERY

053 paint, Red Hot Kiss on walls, Universal Paints

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paint, Honey Dew on walls, Universal Paints

055

PHOTOGRAPHY TRAVYS OWEN/LAMPOST PHOTOGRAPHER’S ASSISTANT LUNGHELO MLATI HAIR KAREN VAN WYNGAARD/LAMPOST MAKEUP LESLEY WHITBY/LAMPOST USING ZOYA ON NAILS MODEL BETHANY D/FANJAM JUNIOR FASHION EDITOR SAHIL HARILAL FASHION INTERN NOMBUSO KUMALO PAINT SPONSORED BY UNIVERSAL PAINTS

TUNIC, R899; TROUSERS, R899, BOTH ZARA; EARRINGS, R550, REMINISCENE; RING, R6 990, KIRSTEN GOSS; STILETTOS, R2 490, EUROPA ART SHOES; VITRA EAST RIVER CHAIR IN FABRIC, DESIGNED BY HELLA JONGERIUS IN 2014, R34 174, CUBE GALLERY

paint, Lovage on walls, Universal Paints

stockists N 13

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Aldo Accessories 011 784 6546 Aldo Shoes aldoshoes.co.za American Swiss 011 685 1434 Athena A

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* Prices and availability are 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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PIN N ED U P

JACKET, R41 000; TROUSERS, R16 000; HOOP EARRINGS; NECKLACE, BOTH PRICE ON REQUEST, ALL DOLCE & GABBANA

PRODUCTION Sharon Armstrong

PHOTOGRAPHY Ross Garrett

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stop pinning the hair, leaving the rest of the hair in front loose.

For a more effortless, easy-going style, apply a curl activator or curl-defining cream to the hair in front to enhance the texture and style with the fingers, bringing forward some pieces to frame the face. For a more dressy approach, gather the hair in front and flip away from the forehead while shaping until it looks bouffant or like a bubble and pin down with clips to secure. Create more volume by adding in some hair extensions or clip-ons in the same texture as your hair before pinning into place.

TIP: Tame any flyaways on the sides and back of the head by slicking down the hair with a medium-hold gel brushed into the hair and an edge tamer.

Wrap the gelled area with a head scarf to allow the hair to properly set and stay in place.

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1. HAIR CLIPS, R249 PER PACK, ZARA 2. GHD ROOT LIFT SPRAY, 100ML, R280 3. DAVINES CURL BUILDING SERUM, 250ML, R325 4. GHD TAIL COMB, R220 5. KEVIN MURPHY POWDER PUFF VOLUMISING POWDER, R550 6. DESIGN ESSENTIALS ALMOND & AVOCADO DETANGLING LEAVE-IN CONDITIONER, 227G, R160

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While the afro of 2015 may have been small, and aptly called the “baby ’fro”, today’s version takes inspiration from the ’80s disco hair of Diana Ross or Donna Summer. Natural texture is no longer hidden but put on display, and is bigger than ever. At the Dolce & Gabbana SS20 show, hair was the picture of summer as models walked the runway with their natural texture either worn out as a full afro or pinned up and wrapped with a scarf.

Gone are the days when natural textures were considered offduty hair reserved for weekends and “bad-hair days”. From coils to curls, this season, texture is celebrated and elevated with the use of luxurious hair accessories and larger-than-life volume created with hair clip-ons and wigs.

THE PIN-UP Creating an elevated up-do that goes beyond just bundling all your hair in a ponytail isn’t as tedious as you may think. Prep the hair by spraying it until damp with a mixture of leave-in conditioner and water in a spray bottle to moisturise the hair and make it more manageable for styling. Starting from the nape of the neck, gather the hair towards the centre of the head, like you would a French plait, then twist and pin the hair with bobby pins.

If you are skilled, you can even braid the hair into a French plait instead of pinning with clips.

Once you get to the crown of the head, close off the braid or

GO WITH

A few years ago, it was rare to see natural hairstyles such as cornrows, dreadlocks, and curls walking down a runway, but now it seems that models sporting their natural texture is all you see. Since Céline’s groundbreaking Fall 2015 ad campaign where model Karly Loyce wore her natural hair in a perfectly coiffed afro, designers such as Dolce & Gabbana, Dior, Valentino and Chanel now all have a similar mandate.

THE ’FRO

beauty

TEXT Nokubonga Thusi

Celebrate natural hair with amped-up volume, easy styling, and statementmaking accessories

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ADOR N ED

DRESS, R31 000; HEADBAND; NECKLACE, BOTH PRICE ON REQUEST, ALL DOLCE & GABBANA

SIDE SWEPT

DRESS, R41 000; EARRINGS, R18 000; BRACELET, R13 000; BAG, R30 000, ALL DOLCE & GABBANA

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PHOTOGRAPHY ROSS GARRETT/LAMPOST PHOTOGRAPHER’S ASSISTANT L’MRI ERASMUS HAIR SAADIQUE RYKLIEF MAKEUP LIZ VAN DER MERWE/RED HOT OPS MODEL LISA P/FANJAM MODEL MANAGEMENT JUNIOR FASHION EDITOR SAHIL HARILAL FASHION INTERN NOMBUSO KUMALO

HAIR TIP:

An enemy of afro-textured or curly hair is its propensity for dryness and breakage. It’s important to infuse it with moisture often and go for treatments every two weeks to strengthen locks and keep hair manageable. Use products that nourish and moisturise the hair, and the scalp — it’s easy to forget that a healthy scalp is critical to having healthy hair. Good natural ingredients to look out for are avocado oil, coconut oil, and banana.

These can be used to treat the scalp as well as the hair and help to add moisture, lustre and make the hair more resilient and well-nourished.

beauty

TEXT Nokubonga Thusi

PRODUCTION Lesley W hi tby

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PHOTOGRAPHY A ar t Verri ps

light/ shade

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See the classics in a new light this season

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Subtle placement switches, texture combinations, & a singular approach to colour.

Makeup artist Lesley Whitby gives us some tips KEY BEAUTY TRENDS

Tonal makeup doesn’t have to be boring or safe.

Adding elements of texture and colour gradations can easily give the look a new lease of life. Swap out eye shadow and liner for rhinestones and glittery stick-ons in the same colourway to add graphic, 3D texture to the eyes.

Elevate lips by blotting in colour with the fingertips to feather out the edges and adding a darker complementary shade in the centre to create dimension.

This technique has been a go-to for seasons, as it gives an effortlessly refined look to makeup — but now the favourite gets an update. Mixing the tonal and contouring methods, use shades two or three shades darker than your skin tone, from eyes to lips. Use a reverse eye-shadow technique to really amp up the eyes.

Focus your darker definition colour on the lower lash line, not on the crease as usual, and shade the rest of the lid with a lighter shadow and zero definition to bring a slightly off-balance impression to the eyes.

BEAUTY MASTERCLASS w i t h Les l ey Whi t by

HOW TO DO:

THE MONOCHROME EYES & LIPS LOOK 1. Start with a wash of nude shadow, a tone darker than the skin, over the entire eyelid and work the colour into the brow 2. Sweep a soft-brown shade under the lower lash line and apply a white or beige pencil along the lower lash waterline 3. Curl the upper lashes with an eyelash curler and apply one layer of mascara to the top and bottom lashes 4. Lightly apply a tan blusher along the cheek bone, to provide just a hint of colour 5. Finish off by lining and filling in the lips with a soft-brown pencil

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1. 3INA THE KAJAL IN 403, R200 2. BOBBI BROWN ART STICK IN RICH NUDE, R455 3. SORBET WHAT A CHEEK BLUSH CHEEK STAMP IN FIESTA FLUSH, R120 4. SMASHBOX LA LIGHTS BLENDABLE LIP & CHEEK COLOUR IN SUNSET AND WINE, R390 5. CHANEL STYLO YEUX WATERPROOF IN BLANC GRAPHIQUE, R465 6. RUHAKU CYCLE REPAIR OIL, 17ML, R965

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Who says the black smoky eye is done for? While the sultry classic has been replaced on runways by brighter, smoked-out shades such as purple, blue, or green, the black smoky eye still has its place in the beauty world with a new update.

Beauty editor’s tip: Move the placement of the shadow away from tightly wrapping the lash line to hug the crease up to the brow bone and inner hollows of the nose bridge.

This creates an airy negative space that allows light back into the eyes, and gets a solid yes from us.

3

SAME, SAME, BUT DIFFERENT

2

MODERN THEATRICS

UP IN SMOKE

1

CLEAN SKIN AND BLEACHED EYEBROWS. AN EMPHASIS ON HOW THE LOOK OF THE FACE CAN BE CHANGED, DRAWING ATTENTION TO DIFFERENT FOCAL POINTS

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PHOTOGRAPHY AART VERRIPS/RED HOT OPS MAKEUP LESLEY WHITBY/LAMPOST MODEL SHAE BARNES/BOSS MODELS

beauty

TEXT Nokubonga Thusi

ILLUSTRATION Cari ke de Jager

THIS IS A MAN’S (PINK) WORLD

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L

et’s be frank — it’s time the world gave a damn about women’s issues. It’s the consensus buzzing around the world right now, with activism and conversations around gender inequality, gender-based violence, and femicide reaching a high. Women are taking control of their bodies; whether by pushing back against abortion laws, leading “taboo” conversations about endometriosis and miscarriage, or throwing old notions about ticking body clocks out the window. Nowadays, when it comes to female health concerns, the prevention of pregnancy, symptomatic consultations, and cervical cancer screenings are some of the top reasons women are seeking more intimate health assistance.

“Whether we like it or not, women are at the epicentre of everything. It is important to have a healthy, strong

epicentre that, in turn, will influence all attached spheres. It dictates the collective health of the world we live in,” says Nongcebo Nsibande, nurse and founder of boutique healthcare facility, Milelo Health.

The beauty, medical, and technological spaces are contributing to this reclamation of control, with a rise in education around women’s issues, as well as innovations focused on monitoring female health. Collectively, the industry is called “femtech (female technology)”. According to consulting firm Frost & Sullivan, the femtech industry could be worth $50-billion by 2025. But despite all the innovations and advancements populating the global femtech space, and

Technology and women’s health are merging, but are cool gadgets enough to open up conversations around our lady parts?

IMAGES SUPPLIED

1. LADY PRELOX FEMALE INTIMACY SUPPLEMENT, 60 CAPS, R500 2. ELVIE TRAINER 3.&4. ELVIE PUMP AND APP, ELVIE.COM 5. BTL EMSELLA CHAIR DEVICE, NTAESTHETIC.CO.ZA

even some products starting to be available locally from online retailers and aesthetic practices, the growth of the industry has been slow.

Not only are women’s issues not being given the platforms they deserve, but femtech products also come at a hefty price or are heavily slapped with a pink tax (if it’s marketed at women, they pay more). Anything to do with female health is seen as a luxury, not a need — have you checked the price of sanitary pads lately?

In a recent Forbes article, Reenita Das argued that a big reason why the spotlight on female health issues has shifted so slowly is because open conversations about female health have been considered taboo for years. “The stigma surrounding women’s issues — menstruation, fertility, pregnancy, nursing, and menopause —

5.

has resulted in hushed boardroom discussions with investors who are mostly men,” writes Das. “A colossal 94% of decision-makers in US venture- capital firms are men and this makes it extremely difficult for women founders of femtech companies to freely discuss their health issues.

The majority of male investors struggle to understand the true value proposition of femtech products. While they understand the importance of women’s health, they do not completely understand the magnitude of the problems and the scale of opportunity that femtech presents.”

“The saying ‘ignorance is bliss’ comes to mind here,” adds Nsibande. “We have so many platforms and studies that have been done but we still haven’t actually tackled these issues in a manner that ensures they become a part of our everyday

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conversations. The systems that have been built haven’t catered for the basic needs of women.”

Despite the struggle to get femtech off the ground, the industry is certainly growing and forcing the conversations around female health into the mainstream. Even the most open-minded woman can feel uncomfortable speaking publicly about her health status or the wellbeing of her “v-word”, so places like Milelo Health are not only revolutionary but also necessary safe spaces.

It was created by women, with women’s needs and concerns in mind to promote inclusivity and awareness. “At Milelo Health, we know that no woman is an island and she has influences coming from her family, friends, and partners.

Now imagine if all our influences were engaging, understanding, knowledgeable, and supportive of the things that affected us? We could proudly access services that help us to be empowered healthcare users,” says Nsibande. “The idea behind Milelo being a mobile health solution is because my patients needed it. Due to the ideas around sexual and reproductive health, one might find the idea of accessing this service in a known centre rather daunting. In your home, you can own your health narrative.”

Nix & Tee Wellness and Aesthetics, a womenowned establishment in Johannesburg that mixes traditional and alternative medical practices, prides itself on offering the best intimate healthcare options to women. It offers a 28-minute pelvic floor strengthening treatment using the BTL Emsella chair that takes the guesswork out of kegels — one session is equivalent to doing 1 100 kegel exercises. It helps with pelvic strength and combating incontinence, which is common in women after childbirth and due to ageing or menopause. This treatment has no downtime and requires sitting on a chair, fully clothed, while it emits high-intensity, focused electromagnetic technology through the pelvic floor. It might sound like torture but the treatment is completely painless, with only slight discomfort when the machine starts and then progresses to feel like a mild massage.

The growing number of technological advances and treatments available on the market is promising. Every innovation puts the control back into a woman’s hands — from being able to monitor her menstruation cycle with an app, to making breastfeeding more efficient with the Elvie pump, which fits snugly into a bra.

Companies are also coming to the party by starting to implement better facilities for working, breastfeeding moms, while more affordable and effective solutions for screening for breast and cervical cancers are being researched every day.

“T

o take my business from nothing to where it is today has always been a very proud achievement for me, personally. It has also been a very rewarding journey with a team that has remained committed to the company.”

These are the words of Val Carstens, group chairperson and CEO of Environ — a brand born and bred in SA, which offers over 140 products and has a footprint in more than 70 countries. After running the company’s dayto-day operations and being an instrumental player in its success, Val knows a thing or two about what it takes for a business to strike gold.

There are many factors that can spark the beginnings of an empire, but Cape Townbased skincare brand Environ owes its success to a vitamin — Vitamin A to be exact. In

1990, Environ’s humble beginnings lay in the formulations of well-known plastic surgeon and visionary Dr Des Fernandes, who was the first to successfully develop a product range containing vitamin A, antioxidants, and peptides in effective doses and endorsed by the Swiss Vitamin Institute. Val, having a natural entrepreneurial spirit, took her brother Des’ formulas and started selling them to friends and family, catapulting Environ into the business it is today.

“It was in 1988 that my brother started formulating a cream and he sent a sample by mail saying, ‘You have no choice but to use this cream!’ I immediately started using it.

My friends started asking, ‘What product are you using on your skin?’ My answer was, ‘My brother’s product’,” says Carstens. “I started to sell the product to friends, who also saw the benefits of ‘Dr D’s cream’ and in December 1990 a company was formed. I had no

From A to success With a commitment to “beautiful skin for a lifetime”, Environ has grown from strength to strength under the leadership of Val Carstens and by creating vitamin A formulations that deliver VAL’S MUST-HAVE ENVI RON PRODUCTS

“When you want that little lift and to look your best!”

1.

“They just make skin so soft and beautiful, and I apply these to my whole body”

2.

4.

“The Rolls Royce of our products, which my skin absolutely adores”

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“An absolute must, instant gratification to the skin”

1. DERMA-LAC LOTION, R325; VITAMIN A, C AND E OIL, R350 2. YOUTH+ REVIVAL MASQUE, R1 020 3. HYDRATING OIL CAPSULES, R730 4. ALPHA DAY LOTION, R325 5. C-QUENCE RANGE, FROM R400

“Our other sunscreen product which, when applied under make-up, gives the skin a glow that is indescribably beautiful”

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difficulty in promoting our product, as I believed in my brother — we were the guinea pigs, and still are — for all products developed by our research and development department. We did not realise that we were building a conglomerate; our only aim was to make a difference to skin and to people’s lives.”

Since then, Environ has grown to become one of South Africa’s most prominent skincare brands. Among its accolades are a nomination for SME Exporter of the Year by the Chamber of Commerce, being voted Top Medical Skin Care for the second year running at the prestigious Aesthetic Everything Awards in the US, and winning beauty awards such as the Marie Claire Prix D’Excellence for its C-Quence Range.

Environ’s success lies not only in the fact that the product ranges are first to market with formulas that cater to South Africans’ needs but also that they are scientifically proven and driven by results. “It was always intentional to meet the gap in the market in South Africa when my brother initially formulated the concept product containing vitamin A,” says Carstens.

“Environ was one of the first to come out with a product containing vitamin A and antioxidants in cosmetics. Our sunscreen, RAD, was also the first to have beta-carotene, antioxidants, and sunscreens in one product. RAD remains a very popular sunscreen throughout the world today.”

But no success story comes without its share of ups and downs. For Carstens, having product formulations that were so active and having a business model where everything was done inhouse first proved a challenge in distributing to the world. “In the beginning, it was quite challenging to learn and meet all the regulations needed to export Environ to many countries, as there were no cosmetic companies in SA doing research, development, and manufacturing, as well as exporting to countries like Japan, the US, and Europe. The fact that we have so many actives ingredients made formulating challenging, as was registration of the product in many countries,” says Carstens. “We did not have the capital to brand our product, so we relied heavily on word-of-mouth. Eventually, I realised that we needed to start the journey of branding the product and employed a marketing manager, who gave her best with the little cash available at the time. Today I am proud to say we have a complete brand and marketing team delivering the message to market and ensuring we stay contemporary and exciting but always delivering the science and results we aim to achieve with each product developed.”

IMAGES SUPPLIED

partnership

experience

A FACIAL LIKE NO OTHER with Environ Electro-Sonic DF Technology

Environ’s beautiful science makes a real, lasting difference.

Powerhouse formulations combined with revolutionary skincare technology means we can go deeper to revive, restore and rehabilitate, delivering more of what your skin needs to where it needs it most.

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my city

TEXT Zodwa Kumalo

INSTAGRAM @ z odwa #z odsz ani njapan

Benesse House Museum was designed

by Tadao Ando. It overlooks the Seto Inland Sea and features this courtyard that opens up to a splendid sky.

Ride the Daikanransha ferris wheel after visiting teamLab Borderless and seal the deal with a Wendy’s square burger if you’ve never tasted one.

Casual yet elegant geisha-style spotting in the Gion district of Kyoto.

Jean-Michel Basquiat exhibition at Mori Arts Centre in Tokyo — my first time attending such an oversubscribed exhibition. Imagine queuing to view a work…

Zodwa Kumalo explores Japan for the love of art, food, fashion, and the great outdoors Street art in the shopping district of Kyoto. I still need to find out who this lady is.

The student town of Jimbocho, Tokyo has streets lined with bookshelves. A literal dream.

“Forest of Resonating Lamps — One Stroke” at teamLab Borderless — this room made me feel absolutely euphoric!

Shabu-shabu, a Japanese hotpot dish of thinly sliced meat, noodles, vegetables and dipping sauce was the order of this latenight private dining session in Kyoto.

Enso Ango is a dispersed hotel comprising five buildings scattered around the Shimogyo-ku ward of Kyoto. We visited all five — ask to stay in Fuya II.

Seeing and engaging with Yayoi Kusama’s yellow pumpkin is the first sense that you have truly arrived at the art island of Naoshima.

The multi-floor and multipurpose building that houses the Hym Hostel in Tamano, situated right on the harbour and close to the station.

The iconic Arashiyama bamboo grove is a must-visit in Kyoto. Go early so you can beat the crowds.

LIVING

“I believe design can be a powerful tool for spreading a message or simply asking a question, making people think and wonder — and react” Nika Zupanc

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HOMEWORK CHAIR BY NIKA ZUPANC

I M A G I N E

M O R E

BOLD STATEMENTS YOUR NEW SIGNATURE LOOK Create your signature look with one big statement piece. Add the finishing touches with carefully considered furniture and décor accents. Discover our latest furniture and décor ranges in-store or online.

EDIT LIVING - November 2019.indd 2-3

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

08/11/2019 15:28

The Namibian desert is a place of unique beauty. Ancient. Vast. Painted by the patient hand of time.

It’s these landscapes which inspired our range of twelve new full-grain leathers, available on four of our iconic sofas.

EDIT LIVING - Leather.indd 1

C U S T O M L E AT H E R S O FA S . N O E X T R A C O S T.

So choose your sofa, choose your leather and enjoy the luxury of a customised leather sofa at no extra cost to you.

We’ve even developed an app to help you visualise your choice in your home.

Go to W E Y L A N D T S . C O . Z A / L E A T H E R W O R K S H O P or pop into your nearest store. Ts & Cs apply.

2019/11/08 13:08

editor’s WORDS AND MOODS SPRING/SUMMER 2019 a small curation of thoughts and found objects...

W

L’O CCI TA NE

WE Y L A NDT S

Pinterest: L E A N A |

e’re ending this year on a high note with

8 D E G RE E S S O U T H

a beautiful and bright final

hello

edition that celebrates the here and now in this imperfect paradise we live in. This issue is filled with great stories and wonderful things to inspire and rejuvenate My wish is that it leaves you all in high spirits.

M OB E L LI

W EY LA NDTS

LUCINDA MUDGE

@HOME

the weariest of souls.

contents 80 INTERIORS Kirsten Goss’ Cape Town home is a quirky gem 8 7 ARCHITECTURE The modernist touches all over Joburg 92 DESIGN Six female designers you need to know 9 6 FOOD Sustainable dining with Wolfgat’s Kobus van der Merwe 1 0 0 MY STYLE Mandla Sibeko’s favourite things

Available in store and online www.polo.co.za @polosouthafrica

The Edit - Nov 19 - Living.indd 1

2019/11/12 10:44:42

house

TEXT Lori Cohen

PRODUCTION Sven Alberdi ng

PHOTOGRAPHY Greg Cox

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HIDDEN GEM

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Cacti and ceramic dogs are the first clue that the outwardly demure bungalow houses a fantastic collection of unusual objects and bold design decisions. Kirsten, pictured with son Cosmo.

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Kirsten wanted a “bomb-proof” area where the children could watch TV and relax. A striking mix of shades in the lounge gives it a playful temperament, but the choices of a clean-lined modular couch and graphic steel coffee table ensure it retains a grown-up edge

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A red carpet leads to Kirsten’s office which sits on top of the main bedroom.

Art, Angela Murray

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An ’80s suburban bungalow in Cape Town is given a charming makeover by its new owner, jewellery designer Kirsten Goss

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ows of cacti, china dogs, a wacky cluster of retro flush-mounted lights on the wall, and a glass cabinet brimming with vintage cameras all greet you before you have stepped beyond the lobby. It’s exactly the kind of quirk one has come to expect from the design dynamite behind Kirsten Goss Jewellery. Kirsten admits she took on the transformation of this home with the same out-of-the box intentions as she has when fitting out a new shop.

Capturing views of the Constantiaberg Mountain, by clearing the garden and shifting the bearing of the house, proved to be the making of the home.

The ever-changing shades of the slopes now dominate the outlook, and she and her partner, filmmaker/photographer Clive Will, chose to contrast this placidness with a sweeping lawn dominated by a sexy circular pool and round beds of water-wise plants.

“I call it our crop circle garden”, laughs Kirsten. “We wanted it to be an inside-outside house. We chose to use artificial turf in the garden so it feels like a carpet. At night, the lights make it a really dramatic space.

Our family moves in and out and we don’t need to worry about the kids getting dirty.

It feels like we have another room to use,” she explains.

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“We wanted it to be an inside-outside house”

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Connection and flow are priorities so the pair had ceiling-height glass and steel doors fitted to link rooms

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fit out a new shop, my house ends up looking like it,” she laughs, referring to the “disco” and strobe lights fitted into the kitchen cabinets, which were inspired by her “karaokelook” store in Cape Town’s

Foreshore. “I love the notion that we are having a regular family dinner but have disco lights on too. It’s about being playful,” she says.

“I’m not afraid of mixing shades together,” she continues, “but you almost

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can transform it from a family hub into a strobe- and colour-filled “party” zone at the flick of a switch. The ceiling-height doors in bold colours reflect Kirsten’s weakness for striking combinations. “Every time I

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With children ranging from toddlerhood to their teens (Farren is 15, Ozzie is 10, and Cosmo is one) the home had to cater to flexible needs, but that didn’t mean crimping on fun. The kitchen features light functions that

An unkempt garden was replaced with a structured plot with artificial grass to give them “an outside room the kids could use, without the dirt and upkeep element,” says Kirsten

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Tapestry, market find; turned table, Gregor Jenkin; chairs, The New Modernist; display cabinet, collected piece; vase, Ben Orkin; painting, Andrzej Urbanski

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Sofa, Sofacompany; velvet bucket chairs, Eclectic; rug, collected item; nest tables, Recreate; Egoli trolley dolly, Stokperd; glass and wood cabinet, Vamp; red side table, Weylandts; brass top Turkish side table, heirloom piece

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have to be deliberate about it to pull it off. I’m not big on decorating. I’m more about throwing something down to see if it works.”

Clive has added his own conspicuous contributions. Series of his eye-catching prints and his insatiable appetite for objets collected from artists, craftspeople, and markets across Africa are displayed throughout the home.

“I think we have a penchant for the unexpected, the sometimes unloved and the brave, but we are also big on quality, longevity, and comfort,” explains Kirsten.

“I’d say we lean towards a clean, bold style, but we also get a lot of joy out of eccentric pieces.”

Furniture choices range from antiques to mid-century modern and contemporary pieces, so the addition of oak parquet floors provided an anchor for the otherwise eclectic vibes. “The furniture might change as the children grow up, but I loved the idea

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“I think we have a penchant for the unexpected”

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of having a sophisticated floor that would stand the test of time. It gives the home a great foundation,” she says.

With an open-plan TV room, dining room, and kitchen opening onto the garden, the flow of rooms is both effortless and practical.

An expansive (and it must be said, irreverent) lounge forms a link between the family zone and the couple’s bedroom/bathroom — which is again a single zone that opens onto the garden. The children’s rooms lie off a corridor behind the kitchen.

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Kirsten replaced the doors and windows with oversized, bespoke pieces made of oak or steel, and porthole and strip windows make for surprise views.

They inject natural light into the home and highlight how she experimented with shapes and scale throughout the property.

She has previously lived

in heritage-style homes, so switching to a more austere build provided the opportunity for a new design adventure. Brimming with fine art and vintage finds, Kirsten and Clive’s home reflects their down-to-earth sensibilities and makes for an engaging family home — kitchen disco lights and all.

ALL BUREAX.CO.ZA

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The bedroom opens up onto the bathroom creating a vast, hotel-like retreat. Kirsten turned the concept of a spa-like bathroom on its head by injecting it with unusual elements

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Basin, Lavo Bathroom Concepts; Meir tap, Flush Bathrooms; marble vanity, Sangengalo Marble & Granite; glass pendant light, Superbalist

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The main bedroom is one of Kirsten’ favourite spaces. “We can sit on the bed and look out at the garden and take in the mountain views. In the evenings it’s spectacular.”

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ALL BUREAX.CO.ZA

The family bathroom. Mandela portrait, Job Ngwanza; round mirror, Vamp; bath, Villeroy & Boch; counter basin, Lavo Bathroom Concepts; taps, Meir; blue vanity, Malco

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Brass side table, heirloom piece.

Seamless floor and wall tiles with black grout give the bathroom a graphic feel and bright artworks keep it quirky, in line with the rest of the house

13&14 .

Welcome home to the Mobelli outdoor experience Mobelli’s stylish yet practical outdoor furniture offers superior comfort and is made from high quality materials to withstand natures elements.

mobelli.co.za | 0861 66 23 55 Paarden Eiland | Sea Point | Illovo | Fourways Mall | Menlyn Piazza | Umhlanga Ridge

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2019.11 Aura Daybed.indd 1

2019/10/10 9:20:54 AM

architecture

1940

his house in Greenside is one of the most famous and influential expressions of the International Style in Joburg. It dates back to 1940, the height of the young academic and architect Rex Martienssen’s powers. The author of the book Martienssen & the International Style, Gilbert Herbert, calls him “the disciple, the god-child of the Modern Movement”. Martienssen and his circle were deeply in the thrall of the first wave of modernist architecture coming out of Europe, particularly from the likes of Swiss-French architect Le Corbusier, perhaps the most influential modernist thinker in the world. Martienssen certainly spread the word in Johannesburg, lecturing, writing, editing journals and, of course, designing buildings that would blow away the cobwebs of the conservatism that had a hold on Joburg architecture at the time.

And this little white box of a house represents a pivotal point in that history — and perhaps the beginning of the unique path of modernism in Johannesburg. Herbert points out that in the UK and US, for example, the pioneering modernist architects were usually immigrants: leaders of the Bauhaus school like Ludwig Mies van der Rohe and Walter Gropius.

Although his head might have been filled with imported ideas, Martienssen’s modernism was home grown. In this house particularly, which he designed for himself and his wife, he departed somewhat from the more directly Corbusian machine aesthetic he’d followed before, especially in that brick panel on the façade.

Its pure geometric form is often compared to a picture frame. The influence of that perfectly

House Martienssen featured in Johannesburg Style by Clive Chipkin

asymmetric geometric composition of blocks and grids with little square protruding windows can be read in everything from two decades of modernist skyscrapers in Hillbrow to almost every “modern contemporary” house today.

Martienssen died just two years after the house was built. He had a heart attack during military training after being called up for service in WW2. He was only 37. His wife lived there for about 20 years more. The current owner is in the process of securing a blue plaque for it.

Joburg

Modern

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A look at five Joburg houses that show some of the unique early paths of 20thcentury modernism

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HOUSE MARTIENSSEN

HOUSE MARTIENSSEN FRANK FEATURES

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hen you think of highveld houses, modernist masterpieces seldom spring to mind. That’s more of a California thing. Yet, in among the stylistic pastiche of Johannesburg suburbia are some real architectural gems that, in different ways, show some of the unique expressions and particular local paths that the modernist movement found in and around the city.

Many of them arose from connections with other international avant-garde thinkers and architects, or were designed by local architects who had studied abroad. But more interesting than the ways in which Johannesburg’s modernist gems might have imported ideas and influences from their better-known counterparts around the world, is seeing how the unique conditions and aesthetic heritage of South Africa, as well as its landscape and climate, took modernism down a path all of its own.

TEXT Graham Wood

HOUSE GILLIBRAND

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1967

ichael Sutton blended many influences in his unique brand of architecture, borrowing from Mediterranean and traditional Cape architecture, and more local African influences. In the end, he developed something that architectural historian Clive Chipkin calls a “new modern vernacular” — at once modern and very much of Joburg. Together with his partner David Walker, Sutton practically invented the sectional-title townhouse or cluster development.

Their landmark developments like Walkways and The Courtyards in Craighall Park are still trophies among design-minded Joburgers. And the Mediterranean-inspired courtyard houses they built evolved a new way for indoor and outdoor spaces to connect. They frequently used big

sliding doors and screens that slid away into wall pockets to blur the distinction between indoor and outdoor spaces. They also pioneered the relationship between house, pool, and garden that is so definitive of Johannesburg houses today.

Sutton, who now lives on the Greek island of Poros, was initially largely influenced by more than a decade of working for Steffen Ahrends. “He was a product of the famous Bauhaus and had to flee Nazi Germany before the war,” writes Sutton in his book, Michael Sutton: Architect. “His insistence on honest materials, basic simplicity, and good proportions based on human scale remained with me.” It’s interesting that someone educated at the very root of machine-aesthetic modernism, the Bauhaus, should end up designing arts-and-craftsy houses in Joburg, as Ahrends did. But the post-war scarcity meant that innovative architects, Bauhaus-educated or not, had to work creatively with cheap available materials. When Sutton went his own way, he continued working with bagged brick, gum poles, quarry tiles, thatch and so on, advancing what Chipkin calls “modernism by another means”.

As Sutton became more successful, the qualities of light and space that made his and Walker’s early designs popular — the changes in volume, the way they let light in through high- level windows and skylights — were translated into grander and more luxurious homes, like House Gillibrand in Riepen Park. An article in the magazine Artlook from October 1970 notes: “The idea evolved from two things; the vernacular architecture of the Greek islands where the mysteries of enclosed space are the subject of everlasting speculation and, nearer us, the magic aura of the Zulu kraal, a series of circles within a circle.”

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House Van Zwam, Johannesburg, completed after Eaton’s untimely death in 1966

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he Pretoria architect Norman Eaton is one of the earliest pioneers of highveld regional modernism. His work came at a time when many of his Joburg counterparts were slavishly following the International Style as it came straight out of Europe. He was enthusiastically commissioned by artists, intellectuals, and other maverick thinkers — he designed houses for Walter Battiss, Alexis Preller, Anton van Wouw, and ceramicist Esias Bosch. Although you can see the influence of the likes of Frank Lloyd Wright’s organic architecture in some of his work, he certainly captured what Preller cited as “an African quality” in his design. Clinton Harrop-Allin writes in his landmark

pine, simple bagged brick walls, and trowel-flicked plastering outside. It remains a landmark in the way it explored the potential of architecture to be seen as art. In the December 1970 issue of arts magazine Artlook, architect Hans Schirmacher argues that House Villa transcends our impulse to “rationaliz[e] our architecture down to the understandable concept of a ‘house’ or ‘home’”. He argues that “architecture cries out to be sculpture, and sculpture would readily encompass architecture”. In the case of this remarkable house, he says, the conflict between architecture and sculpture — and architecture designed to house sculpture — “has been extended, and I am involved. I am involved with the architecture, the sculpture, the architect and the artist. And that is good.”

This photo appears in the book Villa at 90, where the caption reads: “Claire (Villa) at the entrance to the new home on the Kew property”

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his diminutive house in Kew was designed and built for the Italian-born sculptor Edoardo Villa in 1968. He lived there until 2011, when he died at the age of 95, without altering it significantly at all. Villa commissioned the now-largely forgotten architect and his close friend, Ian McLennan, to design the house for him. The budget was small but McLennan had total freedom to design whatever he liked. And it paid off. Although McLennan designed a small house (around 100m²), it is an inspired and daring contribution to the suburban landscape.

Practically a habitable sculpture in its own right, it was also intended to be a showcase for some of its owners’ creations, with recesses and nooks to display sculptures. In his book, Johannesburg Transition, Clive Chipkin describes it thus: “Low tranquil living areas contrast with unexpected explosions of multi-volume space that gives the small house a monumental, perhaps exaggerated, sculptural presence.”

He adds that it is remarkable in the way it expressed its use of natural materials like knotty

study of Eaton that his houses, more than anything, are “a direct response to the ‘feel’ of the South African landscape and climate”. Part of this intangible quality — because Eaton didn’t see Africanness in a literal or simple stylistic way — was a matter of responding thoughtfully to space, light and climate, using deep overhangs and lofty volumes to deal with the heat and the sun. Although the elegant, low-slung forms of his houses are undeniably modernist, they also seem to have a way of hugging the earth. He also drew heavily on other aspects of local design, from the patterns he designed in the brickwork, inspired by basket weaving, beading, and pottery, to the

use of local stone, which imparts a richly textured and deeply rooted aesthetic. He often included circular and curving paths and walls around his elegant, straight-lined houses, perhaps hinting at his interest in Brazilian modernism and its more sensuous, tropical take on the movement.

While Eaton is best known as a Pretoria architect, he designed a surprising number of houses in Johannesburg. Chipkin has dug up a few others, including House Bosman in Hyde Park, and in the University of Pretoria archive there are plans for a House Rissik in Houghton Estate, House Du Preez in Hurlingham, House Tindall in Atholl, and House Holsboer in Dunkeld. The beautiful house pictured left, House Van Zwam in Sandown, was one of his last. Eaton died after a car accident in July 1966, and correspondence with the owner finalising the design was sent by Eaton’s partner TJ Louw in November that year.

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HOUSE GILLIBRAND YIORGIS YEROLYMBOS AND ARTLOOK, OCTOBER 1970 HOUSE VAN ZWAM SARAH DE PINA AND COURTESY OF THE OWNER HOUSE VILLA AND CLAIRE VILLA COURTESY OF LUNETTA BARTZ AND WARREN SIEBRITS; PAGES FROM ARTLOOK, DECEMBER 1970

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TRANSVAAL HOUSE AND DRAWINGS STANLEY SAITOWITZ

Transvaal House explores the possibility of modernism to belong in a landscape Left: Stanley Saitowitz’s original drawings for the Transvaal House are now part of the San Francisco Museum of Modern Art collection

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his remarkable little house in Halfway House was designed in 1978 by Stanley Saitowitz, who went on to have a hugely successful career in San Francisco and is currently emeritus professor of architecture at the University of California, Berkeley. This house was a breakthrough for his career, and remarkably, less than 20 years after it was built, it was declared a national monument. It also has an entire book dedicated to it, called Stanley Saitowitz: A House in the Transvaal, and Saitowitz’ sketches and drawings for the plans are part of the collection at the San Francisco Museum of Modern Art. Although its rounded, rolling shape was inspired by a nearby rocky outcrop, the house is built from industrial materials — a steel skeleton, galvanised metal tile roof, raw brick. From the outside, the house is a markedly artificial construction, but at the same time it blends with and extends the landscape in complex ways. It plays with the contrast between solidity and hollowness, landform and building, earth and sky, natural and industrial. Those barrelly roofs come right down to the ground at points, and you can actually walk up onto the roof — the panels become steps and the building becomes an extension of the landscape, lifting you up to the sky. The contours of the ground around the house are actually delineated and continued in the floor levels inside. Channels in the paving around the house follow the roofline to catch the runoff when it rains. Inside, windows in the grid-like structure frame the views, trace the horizon, and connect with the landscape in a focused, intentional way.

What is perhaps most remarkable about the house is the way in which it extends the possibilities of modernism to begin to define a new way to be in the landscape — to live in a particular place — in a meaningful, justifiable way. As Michael Benedikt (another South African architect and academic in the US) argues in his essay in the Transvaal House book, it’s an attempt via modern architecture to discover or equal the way in which traditional vernacular architecture seems harmoniously of its place — to belong. Saitowitz’s approach, however, is not to try to mimic vernacular architecture or invoke any sort of primitivism. It is to find modern and respectful ways to “connect habitation to landscape today,” as Benedikt puts it. It does not necessarily propose solutions, but embodies some of the contradictions of the relationship between architecture and landscape, using modernist ideas to leapfrog right back to the very question of how we connect with where we are.

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six of F the best

CHRISTINE JACOBS

design

TEXT M i la Crewe- Brown

ebra caught our attention with her recent work for Cape Town’s vintage, sportsinspired Athletic Club and Social, but her oeuvre spans much further. Widely publicised and awarded, her studio produces interior projects that are deeper than surface level. Layered and detailed with immense conceptual backing, her interiors incorporate dynamism, sculptural elements, craftsmanship, and unique details.

“My family were in hospitality, and at a young age I was aware of how we could create spaces with a seamless experience that elevated and entertained,” she recalls. Recently, she has completed a triplex penthouse in New York and a London mews renovation, and has now turned her interest to the energies of space. studioparkington.com

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DEBRA PARKINGTON

The top women in design you need to know about

O M BR E H O O P C H A I R & S O FA

rom architecture to furniture, from those who celebrate simplicity to those who revel in romanticism, both locally and internationally — here is our pick of the six finest South African designers, who also happen to be women.

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ndeavouring to make only useful objects and eschewing decoration for decoration’s sake, Pauline’s output is both prolific and diverse.

Spanning electronics, furniture, products, and interior architecture, her collection includes a bicycle for La Poste (the French Post Office), bottle design for Cire Trudon fragrances, an ergonomic door handle for Turn, and, our personal fave, her natural woven Cana stools for Ames with contours reminiscent of a hat. Her work is elemental, without fuss, and revels in simplicity. Her sleek and elegant Fine Bluetooth speaker for Lexon won her a Red Dot award, and the young designer was also listed as one of Wallpaper magazine’s Power 200. paulinedeltour.com

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PAULINE DELTOUR

hristine’s sophisticated pieces of furniture on the Wolkberg Casting Studios stand at 100% Design SA got more than approving nods. Her simple but unexpected forms challenge expectation with their combination of bold, architectural lines and refined finishes. Her growing collection of chairs, tables, sofas and cabinets has an understated, contemporary look, with a gutsiness we just love. Contrast permeates her pieces in the mix of steel and soft textiles, as well as in the meeting of sharper contours and rounded form. A case in point is our current crush: her curvaceous hoop chair with its expressive lines in epoxy-coated steel and ombre wool. jacobscollection.co.za

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NIKA ZUPANC

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lovenian product and interior designer Nika Zupanc pushes the boundaries of form, materiality, and expectation — which is perhaps why the term “punk elegance” has been used to describe her work. “I love to work with and elegantly subvert icons of all sorts — the iconic form, the iconic story, the iconic material, or the iconic function,” she says. Nika cites her Lolita Lamp for Moooi as a pivotal product in her anthology, cementing the start of her career. She has since gone on to produce pieces for the likes of Sé, Rossana Orlandi, and Moroso. They have an animated, fantasy element to them that provokes thought and opinion, from her Maid Chair with its lacy white contour and her wickedly noir Unfaithful Feather Duster, to her Daisy and Cherry Lamps. “I believe design can be a powerful tool for spreading a message or simply asking a question, making people think and wonder — and react,” she says. nikazupanc.com

UNFA I THF UL FE AT H E R D U ST E R

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VOYAG E VOYAG E , L A G A RE RE STAU RA NT

LAURA GONZALEZ

he Maison&Objet Paris Designer of the Year is celebrated for her work in her hometown of Paris and in the rest of the world. Soulful and rich, with an ever-present nod to the classical, Laura’s architectural career is on a path to the stars. Her body of work includes hotels, restaurants, retail spaces like the Louboutin and Cartier stores and La Gare, a brasserie-style restaurant that’s a delight to the senses. With a love of romanticism and a touch of whimsy, her spaces have heaps of personality with heavy lashings of print, pattern, colour and texture. She has a bold attitude toward mixing different references, resulting in spaces that are rich and multi-dimensional.

She is currently renovating a mansion in the Vexin. The space will host visiting craftsmen and creatives as well as show off her collection of vintage finds and her new furniture range. We cannot wait. lauragonzalez.fr

apping into her roots with a fusion of mid-century modernity and African luxury, Mpho’s furniture pieces are the Joburg-based designer’s ode to her ethnic heritage.

Named by 100% Design SA as one of 2019’s Designers of the Year, as well as having her Nenzima desk nominated for Design Indaba’s Most Beautiful Object, Mpho’s studio The Urbanative produces pieces that reference her culture by using form, motif, colour, and patterning as storytelling mechanisms. From the brand’s Box Braid stool to its Oromo chairs, the studio is all about juxtaposition and narrative.

Her terrazzo and powdercoated steel Nenzima server pays homage to Queen Nenzima of the Mangbetu tribe who lived in the Congo in the 1920s. Its elongated proportions are a direct reference to the Mangbetu cultural practice of lengthening skulls by binding them. theurbanative.com

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food

TEXT Jeanne Cali tz

PRODUCTION Sven Alberdi ng

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PHOTOGRAPHY Warren Heath

basket on his back and wades into the rock pools. Soon, he finds what he’s looking for. He reaches down and plucks his harvest for the day: a big bunch of seaweed, klipkombers in the local Afrikaans tongue, meaning “rock blanket”. Then he’s done — his restaurant is a small one, after all, and this bushel will keep him supplied for up to a week. He subscribes to the forager’s code: he will take no more than he needs.

A small eatery, yes. But these days, since the restaurant, Wolfgat, and its soft-spoken chef Kobus van der Merwe were crowned Restaurant of the Year and best Off-Map Destination at the World Restaurant Awards in February, they have been pulled firmly onto the world stage and the radar of discerning food lovers across the globe. Food lovers are now booking months in advance for Wolfgat’s forage-forward, proudly-West-Coast tasting menu.

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For Van der Merwe, as much as he appreciates the recognition, the resulting attention has been slightly alarming. “We had no idea beforehand what a big deal it was,” he exclaims. “We were up against some really big names! I mean we’re kind of ‘barefoot in the kitchen here’.

We don’t even have tablecloths. Our service is very casual.”

However casual and rustic Wolfgat may be, it is also ambitious,

It may be a small restaurant, with a small staff, in a small seaside town on SA’sWest Coast, but Wolfgat and its celebrated chef Kobus van der Merwe are making massive waves on the international dining scene

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arly one April morning in the small beach town of Paternoster in the Western Cape, a chef leaves his restaurant to go ingredient hunting. He does not go to the market or the shops — he heads for the Atlantic. There’s a bite in the air and the morning light throws a million sun pennies on the water — it is the most perfect of autumn days. The chef leaves his shoes and socks on the beach, straps a fishing

and carefully considered. Located in one of the white fishing cottages typical of this area, it seats a maximum of 24 guests at six tables.

The walls are plastered white, as is the custom here. The roof is corrugated iron, the green, wooden front door is beautifully (naturally) weathered. The kitchen is small, though well-fitted, the furniture a striking mix of wood and steel. Every detail testifies to the fact that Wolfgat is a product of its coastal location: a basket of sea shells, a collection of small found animal skulls, and rows of Van der Merwe’s botanical infusions — the result of his forages — an integral part of the menu.

On clear days, guests dine outside on the covered stoep, with a marvellous view over the ocean.

A few steps down the slope can be found the original Wolfgat, a cavern believed to have been used by local people thousands of years ago. At night and on colder days, Van der Merwe and his small team move the tables inside. They light a fire in the fireplace and diners get to see the kitchen in action.

It is not be the kind of action normally associated with awardwinning kitchens. The atmosphere is not frenetic, but calm and focused; the pace is unhurried. It feels right for a restaurant so radically aligned

to time, the seasons, and to the way nature operates. Meat (local venison and lamb) is on the menu only in autumn and winter. In summer, the focus shifts to sustainably sourced seafood. Even the local edible greens on the menu have a season, for which Van der Merwe is happy to wait — he waxes lyrical about a plant called dune celery, “which is not sprouting at the moment, but when it is I love to use it for its green and earthy taste”.

As for today’s menu, every one of its seven courses speaks to the unique character of this area — from the dune spinach served with heerenbone and mussels,

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to the foraged klipkombers which will accompany the meat course.

And then there is the seepampoen (“sea pumpkin”), an indigenous plant which is to be served with the pre-dessert, and which Van der Merwe has just realised they’ve run out of. No matter. One of his staff will make a quick run to his house just down the road, where the plant has all but taken over his garden.

“It’s free, it’s sustainable. I planted some there and it grows so easily,” he says.

He thinks for a moment. “It thrives here, because it belongs here.” Clearly, the same holds for Wolfgat.

GBR/24228/S

Good Thymes 159-1

Strictly Silver 140-2

Thorwood 140-5

Paint so smart, you’ll style your life around it.

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my style

TEXT M i la Crewe- Brown

Mandla Sibeko

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n addition to his determined backing of the African arts industry and his bold introduction this year of the new FNB Art Joburg to the scene, it so happens that Mandla Sibeko has a sharp sense of style too. It shouldn’t surprise you that he’s a fierce supporter of local, be it his wardrobe choices or home purchases.

FNB Art Joburg stands for supporting African artists and galleries.

This brand began after 11 years as the FNB Joburg Art Fair, in the spirit of relaunching to be globally competitive. In 2008, there were about 50 art fairs and now there are more than 250.

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I’d describe my personal fashion style as one that is versatile; it can cover meeting an artist to meeting a CEO, and meeting a president all in one day.

I’m currently reading a collection of short stories

by Tom Hanks called Uncommon Type.

My most memorable exhibition is Art/Afrique, le nouvel atelier at the Fondation Louis Vuitton in 2017.

My all-time favourite coffee table book is a tie between Marlene Dumas’ Measuring Your Own Grave (2008) and Santu Mofokeng’s The Black Photo Album (2004).

My go-to scent is M7 Oud Absolu by Yves Saint Laurent and Acqua di Parma. I’ve used M7 Oud Absolu since I bought it with my very first paycheque.

My interior style is simple and elegant, comprising mostly local pieces and a few items from abroad.

My top holiday destination is Punta Mita in Mexico; I would do anything to go back there! It was one holiday where my wife and I agreed it was the best ever.

My best hotels anywhere are Delaire Graff and Babylonstoren locally, and Hyatt Andaz and [Hyatt Regency London] The Churchill.

I collect art, art books, design objects, and artisanal wines.

The architects and designers who excite me are Stephen Falcke, whom I have known all my life, Frank Gehry, and Donald Nxumalo.

My most coveted FNB Art Joburg artist is hard to pinpoint as there are so many. But I’d say the FNB Art Prize winners: Portia Zvavahera, Kudzanai Chiurai, Bronwyn Katz, Nolan Oswald Dennis — the list is long!

The last artwork I bought for myself was a ceramic vessel entitled Water Bearer by Mia Chaplin.

My best wardrobe purchase was my Acne denim shirts.

The one designer I’d love to grab a coffee with is Thebe Magugu.

Under-the-radar artists I think everyone should watch are No Martins and Lunga Ntila. They were two artists I saw this year in our new section, Gallery Lab, whom I will be keeping an eye on. artjoburg.com

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We asked FNB Art Joburg’s natty founding director what sways his preferences

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