Wanted April Issue 2022

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perfectly suited

ED’S LETTER

04 / 2022

EDITOR.

Air-kissing fashion goodbye, dahhhling text

Siphiwe Mpye

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Africa by the Global North — a practice that undermines local industries and is unkind to the environment — but I would be a liar of Simon Leviev-like proportions if I didn’t admit to being truly grateful for the particular dump that brought this coat — warm, well-tailored, and versatile — into my life.

There are others — the leather biker jacket bought from the eccentric owner of a secondhand bicycle shop, and my first bespoke suit (and by this I don’t mean made to measure, I mean handmade) tailored by the famed Mike Narainsamy and designed by my old friend Shaldon

“I was never an Andrea Sachs in The Devil Wears Prada, in a lumpy, cerulean jersey, sniggering at fashion people fashioning”

story of the people who made the garments? What did mathematics have to do with patternmaking?

I threw myself into all of it, while acquiring items that, to this day, bring pure joy. Clothing has given me moments that have rendered unforgettable many things that would otherwise have been unbearable. Take the camel coat I wear on this page.

I found this piece at a massive vintage warehouse in Midrand over a decade ago, after spending half a day diving in and out of piles of dusty coats stacked up higher than a rugby lock standing on the shoulders of another.

My lefty politics abhor the rampant fashion dumping in

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Kopman for Naked Ape. As I further contemplate my odyssey with the cloth and other stories flood into the mind, fashion takes on a new meaning — perhaps one that, to my mind, it should always have been about. Behind every design, pleat, stitch, and sale there are talented people (some of whom you will encounter in this issue) taking pride in their craft, breaking barriers, and supporting households.

Through this lens, fashion becomes love, beautiful in ways that transcend aesthetics and gross superficial airs. You can sign me up for that and I will see you at the next front row. But please, when you see me, a fist bump will suffice, dahhhling.

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henever I try to locate the exact moment I threw up the middle finger to fashion, I inevitably land on air-kissing. There was a sustained, pre-Covid moment when the infamous air kiss — ostensibly invented for the preservation of intricate face beats — came with the fashion package. The big toothy smile, the two-cheek air kiss, the “Dahhhling,” the “Love that look,” and then, without skipping a beat, a turn of the heels, off to the next one, pining for a casual skinner about the most intimate life details of that giddy recipient of said air kiss.

It may seem petty to attack a fake kiss (of all things) like this, but this behaviour was indicative of something larger and far more toxic. While an air kiss can be handy in conveying warmth with a discernible distance (in Covid times, this can be useful), “it can also be weaponised”, as Love Magazine’s senior editor Pierre A M’Pelé tells The Guardian. “Its purposes, depending on how it is performed, can go from real fondness to total disdain.”

It was the force of this disdain, wrapped in performative affection, that prompted my zap sign to fashion’s plastic metaverse.

Leading up to that moment, fashion played a significant role in my life. Although I may have come close in the years between university and my early career, I don’t recall ever being a fashion Luddite. I was never an Andrea Sachs in The Devil Wears Prada, in a lumpy, cerulean jersey, sniggering at fashion people fashioning.

Over the years, I have received plaudits and actual awards for dressing well, but in retrospect, for me, it was not fashion but the clothes that I loved. Where was the fabric from? What was the

The camel coat and me at the Società Umanitaria in Milan

P L U S

P L E N T Y

M O R E , V I S I T

WA N T E D O N L I N E . C O . Z A

w Millenia ear cuff, R1 85O, Swarovski; polo neck, R5 72O, Wolford; shirt, R22 4OO; coat, R1O2 OOO, both Louis Vuitton; Karl Lagerfeld gloves, R2 69O, Preview; skirt, R36 5OO, Louis Vuitton; socks, from R625, Wolford; Chiara Ferragni boots, R8 49O, Preview

E D I TO R S i p h iwe M pye ( m pye s @ a re n a . a f r i c a ) C R E AT I V E D I R E C TO R A n n a L i n eve l d t ( l i n eve l d ta @ a re n a . a f r i c a ) M A N AG I N G E D I TO R S u z y Jo s e p h s o n 0 7 2 5 9 8 9 2 8 2 ( j o s e p h s o n s @ a re n a . a f r i c a ) J U N I O R D E S I G N E R S C a r i k e d e Ja g e r

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FINAL EYE Elizabeth Sleith AC T I N G WA N T E D O N L I N E E D I TO R

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16 Sindiso Khumalo and Lukhanyo Mdingi on fashion craft

20 Nisha Kanabar brings African designers to the world

22 Get all suited up as this season borrows from the boys

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The new RollsRoyce Ghost enters stealth mode

A standing ovation for high-fashion hotels in Milan, Dubai, and Paris

C o v e r : P e a r l n e c k l a c e s , P O R , a l l C h a r l e s G r e i g ; b l a z e r , R 5 0 0 0 , U n i F o r m ; T- s h i r t , R 1 3 9 9 ; t r o u s e r s , R 6 9 9 9 , b o t h D i e s e l

Misty Copeland

WAT C H E S

04 / 2022 text

Gary Cotterell is Wanted’s Watch Editor

Breitling Navitimer B01 Chronograph 43

COLUMN.

Quality time

The Breitling Navitimer, reimagined

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hen you think of a Breitling watch, chances are it’s a Navitimer.

This is its most iconic timepiece, considered by many to be the ultimate pilot’s wristwatch. A portmanteau of “navigation” and “timer”, the oldest mechanical chronograph still in production celebrates its 70th anniversary this year. This perfect “co-pilot” made its debut in 1952 as a prototype equipped with a circular slide rule able to facilitate all aviation-related calculations. Incidentally, Breitling was the first to use a slide rule

Having “lived” with an original Navitimer “806” for a few months before putting pen to paper, Breitling creative director Sylvain Berneron acquired intimate knowledge of how it wore and felt on his wrist, how it looked in different light. “The deeper the research, the more coherent is the answer,” explains Berneron, who, together with his team, honoured the legend this year with a redesign that captures the features of the classic Navitimer “806” while enhancing them with modern finishes. Revealed to us at the Breitling Summit in Zurich last

on a watch, which initially featured on the Chronomat 11 years earlier.

In 1954, the Aircraft Owners and Pilots Association (AOPA) — the largest aviators’ club in the world — selected the Navitimer as its official timepiece, and with that it went into full production. With the AOPA’s winged logo emblazoned on its dial, the Navitimer took off in the booming civil aviation industry of the 1950s-1970s. Today, it recalls those halcyon days of intercontinental travel when travelling by air was an event (and smoking was permitted onboard).

week, the novelties are both elegant and robust, making them a comfortable fit for modern explorers with ambitions both great and small.

Available in stainless steel or 18kt red gold, and in 46, 43, or 41mm case sizes, this might be a more refined, subtle “evolution” of the Navitimer, but let’s not forget how revolutionary it was for its time. A big impact on the design is the bidirectional rotating slide rule, which has been flattened and — together with a new domed crystal — creates the illusion of a more compact profile. Other reoccurring design codes include the baton indexes, the trio of chronograph counters, and the notched bezel. Contemporary shades of blue, green, and copper update the dials, which also feature an added dash of nostalgia with the AOPA winged logo returning to its original position at noon.

A date window is discreetly positioned in the sub dial at 6 o’clock.

The open case back provides a view of the COSC-certified Breitling manufacture calibre 01 with its slimmer oscillating weight. This smooth-running column-wheel chronograph with vertical clutch features 1/4th second, 30-minute and 12-hour totalisers. The calibre 01 provides approximately 70 hours of power reserve. It’s vailable on alligator-leather straps and seven-row Navitimer bracelets.

Breitling also introduced its new “squad” of Navitimer ambassadors, which includes basketball superstar Giannis Antetokounmpo, American Ballet Theatre principal dancer Misty Copeland, and aviation pioneer and explorer Bertrand Piccard. POA, breitling.com, Breitling Boutique Sandton 011 883 2286. Full interview with Sylvain Berneron at wantedonline.co.za

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Swatch “Colours of Nature” collection in five

earthy hues that represent different landscapes millions of years in the making — basalts, canyons (pictured), forests, glaciers, and deserts.

R2 580, swatch.com

RETRO FUTURISTIC The Girard-Perregaux Casquette 2.0 revives

an avant-garde cult design of the 1970s. The original watch was nicknamed “Casquette” because of its sleek, tapered case with an LED screen that displayed the hours, minutes, seconds, day, and date. Only 8 200 were produced between 1976 and 1978. Encased in ceramic and grade-5 titanium, the new quartz movement in this faithful reproduction has additional functions, including month, year, chronograph, second time zone, and secret date.

Limited to 820 pieces. POA, Girard-Perregaux.com

YEAR OF THE PILOT IWC Schaffhausen unveiled two new Top Gun chronographs at Watches & Wonders 2022 — “Lake Tahoe” white and “Woodland” dark-green ceramic — adding bold style to a line of pilots’ watches first introduced in 2007. Both 44.5mm timepieces are limited in annual production to 1 000 pieces. They are powered by the IWC-manufactured 69380 calibre automatic movement with 46 hours’ power reserve. POA, iwc. com or RLG Africa 011 317 2600. Read my full week-on-the-wrist review at wantedonline.co.za

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DIAL NATURE If we are to survive the future we need more socioecological systems that integrate people and nature, with reciprocal feedback and interdependence. So, turn on your out-of-office alert: spending more time wandering outdoors is a good start to appreciating natural capital. The power of the elements has inspired the Big Bold Bioceramic

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Gary Cotterell

B H H B O U T I Q U E V & A W A T E R F R O N T C A P E T O W N +2 7 21 41 8 1 889 B H H B O U T I Q U E H Y D E P A R K C O R N E R J O H A N N E S B U R G +27 11 325 4119 For further information contact Architects of Time +27 11 669 0790 www.bhhboutique.co.za

OBJET

04 / 2022

STOCKIST PICOT & MOSS PICOTANDMOSS.CO.ZA

Through the looking glass

Small accessory, big impact production

Sahil Harilal

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Celine and Dior eyewear, R4 850-R8 000, Picot & Moss

photographer

Judd van Rensburg

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STYLE NOTES

04 / 2022 text

Nokubonga Thusi and Ingrid Wood

outh African woman-owned brand Mantua Silkwear, founded by Juandi S Andrag, is blazing a trail for local design.

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Recently invited by Flying Solo, New York, to showcase at a group fashion show at Paris Fashion Week A/W 2023, the brand draws on the spirited, colourful heartbeat of the African continent while honouring the Eastern origins of silk. The runway highlighted limited-edition, trans-seasonal, and timeless scarves, slip dresses, and kaftans that played up the luminosity of silk with watercolour-art prints. The brand not only celebrates art and silk craftsmanship but is also socially responsible, manufacturing locally, supporting and developing local craftswomen, and donating profits from selected campaigns to charities in aid of abused women. mantua.co.za

WANTED /

YAWA LUXURY

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SWATCHES OF ART

urn your wrist into an art T exhibition with the

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latest collaboration between Swatch and the Centre Pompidou, in a partnership that dates back to 1985. The new limited-edition collection features six watches, in the Gent and New Gent models — Frida Kahlo’s The Frame, Piet Mondrian’s

f designer threads from Off-White, Acne Studios, Comme des Garçons, Palm Angels, and Rich Mnisi are on your wish list, you’ll be happy to know that a new luxury haven has opened in Diamond Walk, Sandton City. Co-founded by retail maven Arie Fabian, Yawa merges luxury fashion, music, art, and design in a retail space brought to life by international award-winning interior architect Tristan du Plessis. Browse local and international brands underscored by regular live DJ sets while satisfying your visual appetite with works by such acclaimed artists as Nigeria’s Dennis Osadebe.

Composition en Rouge, Bleu et Blanc II, Wassily Kandinsky’s Bleu de Ciel, Amedeo Modigliani’s Portrait de Dédie, and Robert Delaunay’s Manège de Cochons and La Tour Eiffel. swatch.com

yawa.africa

Art meets gems

FOREVER, MY WAY

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enowned South African auction house Strauss & 04.

Co now offers art, jewellery, and objets for immediate purchase online outside of its regular auction calendar. Its latest creative collaboration with local jewellery designer Taz Watson showcases unique handmade heirloom pieces. Tanzanite and aquamarine 18kt-gold pendant, Ombré collection by Taz Watson, R13 200; tourmaline and 18kt-gold hoop earrings, Man in the Moon collection by Taz Watson, R15 500, Strauss & Co (items available for a limited time) www.straussart.co.a

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cent and sustainability merge again in a fragrance that is built to last in the latest iteration of Giorgio Armani’s My Way. With a little less citrus in the opening and a fuller interpretation of the signature white floral bouquet in the heart, the My Way Intense scent profile is more enveloping and instantly captivating, with notes of bergamot, orange blossom, two tuberose heart absolutes, jasmine grandiflorum, sandalwood, and vanilla bourbon. The brand’s commitment to sustainability and carbon neutrality sees the use of a refillable, blue talismantopped bottle and sustainable ingredient sourcing. Giorgio Armani My Way Intense EDP 100ml, R2 640

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MOST

Modern, Post-War and Contemporary Art, Decorative Arts, Jewellery & Fine Wine LIVE VIRTUAL AUCTION Cape Town 3-6 April 2022 VENUE Brickfield Canvas, 2nd floor, 35 Brickfield Road, Woodstock, Cape Town Preview: 28 March - 3 April 2022, 10am - 5pm daily CONTACT ct@straussart.co.za | 021 683 6560 | www.straussart.co.za JEWELLERY Buy on the Strauss & Co Shop | www.straussart.co.za/shop E-catalogues can be viewed on www.straussart.co.za Maggie Laubser, Portrait of a Woman wearing a Sari against a Floral Background R800 000 - 1 200 000 Jo-Ann Strauss | Jewellery by Mahak Kala of Panchoo London | Clothes by Warrick Gautier & House of Fabrosanz | Style by Bev Nates

Nicolas Ghesquière

The Kids Are Alright

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hat is this collection about? It could be a kind of teenage fantasy, a certain stylistic idea of adolescence. Sartorially speaking, adolescence is a time that’s free of conformity, comprised of mélange, dissonance, and resonance... A succession of collages that mix education, cultural references, idols, heroes and heroines, the desire to assert oneself, to forge a personality, to distinguish oneself, to discover and explore, with a deep desire for authenticity. How do you transpose the idea of adolescence into a collection? With tops and scarfskirts that you leave as is or that you mix, depending on your mood. Chunky sweaters casually tied around the waist over rugby polos and slouchy pants ringed with flowers. An idea of uniforms, with kilts mixed with whatever you please, like teenagers outside a boarding school who reclaim fantasy and agency over what they wear. Oversized cardigans with silk trousers. Modesty and mille-feuille dresses in chiffon and tulle that give silhouettes a kinetic and fleeting, mirage-like effect.

I would like people to sense that it’s a collection without constraint that’s focused on freedom of movement, ease, and total comfort, even though it involves very meticulous work in terms of materials and the hybridisation of clothing. As if the outfits were born fully formed, instinctively. Please talk us through the materials. There are lots of natural materials: knit, silk, cashmere. Among these is a double-faced cashmere sweater that recalls movers’ blankets, as well as a youthful desire to customise everything.

There is lots of embroidery by Maison Lesage. Cloqué silks, lots of jacquard techniques, damask, and variations on tweed. As a common thread, there are printed or embroidered drawings of flowers inspired by the 19th century.

Where are the photos that we see in appliqué on certain outfits from? Those images are by the photographer David Sims, from the

Louis Vuitton creative director Nicolas Ghesquière breaks down the adolescent mélange of the Autumn/ Winter 2022 women’s show

beginning of his career, in the 1990s. I love them; they’re very pure and they speak to a certain idea of adolescence.

These were applied and embroidered on floral jacquard polos. They could almost be the kind of T-shirts teenagers buy on their way home from a concert. Or like a teenager’s bedroom, with floral wallpaper plastered with posters of their idols.

Please describe the accessories. The Petite Malle V handbag is a new Petite Malle style with a gusset. The famous Loop baguette bag has been revisited in an oversized version. The Cité is like a small reporter bag. Riding boots might be embellished with large, circular cutouts. There are open-toed penny loafers, some covered in woven jacquard, and multi-strap sandals and jewellery that’s articulated or unhinged... Why did you choose to show at the Musée d’Orsay?

This is the first time a fashion show has been held at the Musée d’Orsay and I am particularly happy to show this collection in the central hall, which was renovated by the architect Gae Aulenti, and the Courbet gallery, which I love — it’s one of my favourite places. Through its light, the colours, and an otherly aura, it is as if it were a temple beneath the glass roof of an old, 19th-century train station in Paris.

Moreover, it was contemporaneous with Louis Vuitton, back when it was still the Palais d’Orsay, a building he must have admired many times as he delivered custom orders to Empress Eugénie in the Louvre, just opposite. That changes the vision one might have of a museum. It was daring for its time, and it became a neoclassical reference in architecture. The show is being staged without compromises, amid monumental paintings by Gustave Courbet. Further on, there are the Impressionists.

They, too, caused a scandal in their day, because they broke with the conventions of academic art. They painted quickly, briskly, in the open air. The gestures live in the beauty of the moment. Today, their harmony is indisputable, which is why they’re known as the painters of happiness.

It is a museum of sheer tenderness. What celebrities are involved in the show?

Lous and the Yakuza closes the show, just as she did for the Spring/Summer 2021 collection at La Samaritaine. And the actress HoYeon Jung opens — since her appearance in Squid Game, she’s become a supernova. We’ve known each other for a long time, because she started out as a model. Louis Vuitton was one of the first runways she walked, and we’ve done several campaigns for the maison.

It’s a great pleasure to continue together but in a different way. And then there’s the music: I’ve reconnected with an artist I admire who accompanied me in some of my past shows. Koudlam is back with a new album and is offering us a preview of two tracks. louisvuitton.com

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INTERVIEW

04 / 2022

L I V E YO U R PA S S I O N H I G H L I F E WO R L DT I M E R M A N U FAC T U R E Fo r f u r th e r in f o r m ation c onta c t Pic ot & Mos s ( 01 1 ) 669-0 5 0 0. www. p i c o t a n d m o ss. c o . z a frederiqueconstant.com

DOWN TO BUSINESS

04 / 2022 text

Lukanyo Mnyanda

Lukanyo Mnyanda is the editor of Business Day

COLUMN.

Hope blooms eternal … he says warily, casting a beady eye on the latest Covid reports

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e’ve just passed another milestone in our Covid journey. Two years after the government first imposed a state of disaster, I’m starting to struggle to remember a life before Covid, which is probably why I was among those hoping that it would be allowed to lapse when the expiry date arrived on 15 March.

As it turns out, we are still living under a state of disaster, though the mood feels different now, and nothing like the horror of the winter of 2020.

But then, I must also admit to having been a bit ambivalent. I can accept the argument that this is no time to be complacent, and that some restrictions might yet become necessary to safeguard the gains we’ve made so far, in terms of both

saving lives and getting the economy back at full throttle.

With most of the economy already reopened, my concerns have more to do with personal and constitutional issues, having seen the glee with which politicians exercised their new, and often arbitrary, powers, where they could suddenly tell us when to jog, or what to wear, or when to go to bed. One won’t struggle to make a list of the disappointments and unkept promises of the not-so-new South Africa, but personally I enjoy living in one of the free societies of the world.

Even as life increasingly feels like it’s going back to normal, the nagging feeling that, with one stroke of a pen, politicians can give themselves an excuse to unreasonably impose their puritanical ideas on the rest of us won’t go away until the whole thing is gone. But then, on the other hand, I’m enjoying the return of the simpler things in life. I feel uneasy about a gung-ho approach that takes us back to those days in early 2020, though I’ve allowed myself to become confident that we won’t get there.

What have I missed the most over the past two years?

The answer is probably a bit biased towards the things

we lost the most, which would be sports and the arts. The irony is that I hardly went to any sports events in the two years before the onset of Covid-19. But I had the choice, and that matters more than the act of attending.

In football, I remember one Soweto derby at the FNB Stadium and something on a much smaller and more intimate scale — driving down the road to watch Orlando Pirates take on the former Wits University, when the soccer team still had that name and was based in Auckland Park. There was one game of cricket at the Wanderers, and I can’t even remember who South Africa played. And I was once obsessed with rugby, often going by myself to watch the Lions when they were the also-rans and defeat was almost guaranteed.

I’m probably not the only person to find that, as one gets older and has children, Saturdays become less about watching big sports on TV and more about attending swimming lessons, watching football (of a much lower quality) at schools’ sports fields, and driving to birthday parties. Somehow, Arsenal bucked the trend, but otherwise watching sport stopped for me around 2011.

Perhaps that was just a love of suffering.

But it’s always a bit different with music and the theatre, as they take up less of one’s premium weekend time. One can finish work, do what needs to be done with children before they go to bed, and still go to a concert or a play. So, I would say live music topped the list of the pleasures that I missed the most.

When we had a slight respite in the Covid nightmare towards the end of 2020, one of my most memorable experiences was attending a concert at Nirox Sculpture Park. I remember being so full of hope that sunny day, only for it to be dashed.

Then there came beta, delta, omicron, and flight bans.

I was also full of hope seeing the in-person return of the Starlight Classics concert at Vergelegen wine estate in Somerset West last month.

The setting wasn’t going to be anything but beautiful, so it feels almost unworthy of comment. The music wasn’t too bad either, with its message of hope, colour, and vibrancy. At times it felt slightly sentimental, but then, after these past two years, that’s a right we have earned.

Dare I allow myself to believe that these hopes won’t be dashed again?

I N C O N V E R S AT I O N

04 / 2022

PEERS IN CONVERSATION Fashion designers Sindiso Khumalo and Lukhanyo Mdingi talk about crafting, war, Nicholas Coutts, and Paris

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LUKHANYO MDINGI

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ukhanyo Mdingi (LM): We recently did Paris and I had no idea you were going to be there… how was it for you?

Sindiso Khumalo (SK): It was great.

We launched the Vans Vault collaboration, which you saw, and it was an amazing experience. It was a really good four days. There was great feedback on the collection.

LM: You were my ultimate fairy godmother on that trip. Thank you so much for helping me out with your card, because I lost my wallet as soon as I arrived.

Aside from that little speed bump, Paris was good. I ended up getting quite sick, so I couldn’t really enjoy it the way that I wanted to. The whole reason for going in the first place was a presentation that was taking place with the support of the Ethical Fashion Initiative. We’ve been part of them for going on three years now. What they wanted to do was to showcase African designers to the larger fashion market. We are expanding it to show how craft can live within contemporary design.

There’s always such a weird misconception about craft and how there’s not enough refinement to it. The idea is to really shift that paradigm.

SK: Congratulations on your production, it looks exquisite. You’ve been talking the wool story for a long time now — tell me more about the craft.

LM: In the beginning, it was all about creating beautiful clothes but then, as I progressed as a designer, I realised that it’s a process that’s quite collaborative. Our first introduction to that was by collaborating with textile designer Stephanie Bentum. Her company, Krafthaus, employs artisans who focus on textile development through felting. That led me to truly understanding the taproot of certain fibres — merino wool and mohair. So, [it became about] tapping into that, tapping into a fibre that penetrates an industry in such an incredible way, and the livelihoods and craft of those within that industry.

It was this interwoven sensibility of honesty and sincerity that is now part of the cosmology of our brand.

I love being in that collaborative space, I love learning from individuals who are so talented within their fields and seeing how they can add to the design.

SK: I want to know more about that knitted halterneck dress from last season [Coutts collection].

That was a beautiful full-circle moment.

LK: It expands to how community works and how sincere design can be. That dress — and the whole collection — was inspired by Nicholas Coutts [the SA fashion designer, who died in 2019]. Making a body of work that was dedicated to Nick was also trying to get an idea as to what Nick had been working on before his passing. He had been involved with an incredible community based in Khayelitsha called Philani [the Philani Maternal, Child Health and Nutrition Fund].

They predominantly focus on women’s maternal health, but they have a subdivision that’s a workshop

Lukhanyo Mdingi is the joint winner of the 2021 LVMH Karl Lagerfeld Prize and was invited to Paris Fashion Week this year, where he debuted his Bodyland Autumn/Winter 2022 collection

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previous bodies of work? So much of what you do is based on craft, but there’s also a celebration of womanhood.

SK: Essentially, it was inspired by iconic Black women in the 1970s, and I looked at everybody from Miriam Makeba to Diana Ross. We look at 1970s fashion and we think it comes from a purely Western or American ideology, and I just wanted to pull all of that out.

One of the things I’m beginning to learn as a designer is having my core silhouettes, my core looks, but then also still saying, “You know what, I’m growing.” I’ve now launched into a bit of tailoring, expanded into pleating.

02.

SINDISO KHUMALO

Sindiso Khumalo is a sustainable textile designer who launched her eponymous brand in 2014, has showcased at Milan Fashion Week, and is a 2020 LVMH Prize finalist

I just want to bring some joy. It’s just been such a horrendous two years, I wanted to go bright, bold, joyful, happy. Especially now. We were in Paris when the whole Ukraine situation kicked off, so much that’s going on in the world is just so depressing. Clothing has that transformative thing where it can make you feel better.

I said to Sarah Andelman, the curator of the Vans Vault collaboration, “You know, it feels very strange to post about trainers when there’s a war happening.” Then we met Anna October, the Ukrainian designer, and she said, “Life should carry on, you should still do the work, but also present to people what’s going on. You can do both.”

As artists, part of our responsibility is to bring joy.

LM: I totally agree with you. As artists, and as entrepreneurs, especially moving in a contemporary world, our job is to create work that also informs the times we’re living in. We’ve decided to approach it by working with marginalised groups and communities that want the work, but also need the work. I think that’s another vehicle for bringing the change that we want to see — creating things that are beautiful but that also have a sense of purpose.

What was your approach when you first started your business, compared to right now?

SK: I’ve always worked with NGOs. I wanted to try to tap into the crafts happening at home. When I was living in London, it was a way of bringing the essence of my home to the UK, building a print brand parallel to building a craft-focused brand.

People ask, “How did you get from where you were to here?” And a lot of it is just working through each collection and understanding for yourself, “Who am I through the collection? What are we trying to say?”

Trusting in the process is crucial. You’ve always been interested in the craft and the making.

LM: You want to create items that another person will feel good in, and that’s something that we’re still exploring. Because we want to create items that people feel good wearing. I want them to put LM on and be like, “Man, this is delicious, and I feel good in it.”

That’s the quest.

SK: In your seven-year career, what have been the biggest challenges for you, as both an entrepreneur and a designer?

LM: As I’ve gotten older, I’ve gained more confidence in my role as both. But there were never really any particular idols that I could look up to. So, there’s always been this sense of, “I don’t necessarily belong within the space that I’m in now,” because I never saw young contemporary designers when I was five, or 13, or even 18. So, there’s sometimes a level of imposter syndrome. That has been the most consistent challenge.

What do you see for the future of Sindi?

SK: I find it quite challenging to be on the rise when I’ve got two young children. I’ve had to create my own boundaries — I have two phones now, and I switch off my work phone to create definitions of weekends and stuff. But I can’t imagine not doing this.

I’m just so joyful that I can come to my studio every day and do what I love.

As a brand, we just want to continue on our journey of doing a lot of collaborations. And also doing meaningful collections that have social activism behind them. If I can create a ripple of change, then that keeps me going.

Check Wanted Online for a video of the full conversation

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for printmaking and weaving, and Nick had been working with these mothers. I really wanted to see how we could expand on that. So, we took some of the tapestries that Nick had designed with these women and digitised them. We put that into knitwear and from that we created those dresses. The Coutts collection is one of the most sentimental things that I’ve ever created.

SK: I cried when I first saw it. A beautiful homage to them, to the craft.

LM: I also want to know more about the new collection that you’ve been working on. How do you approach this new body of work, how have you expanded upon

THE READ

04 / 2022

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I

f my relationship with fashion were one of those old-school Facebook-profile status updates, I think “It’s complicated” would just about sum it up. There is no doubt that fashion and I have got a thing going on, but we are in a rough patch right about now. It used to be so easy. But now I’m thinking we probably need to sign up for some heavy-duty couples therapy.

And it’s not like the Covid helped the situation. I spent a good part of the past few years basically toggling between my pyjamas and my leggings. And whatever people say, that’s not fashion — that’s giving up on life (just as Kaiser Karl declared about humble tracksuit bottoms).

I would wake up in the morning with the best of intentions, knowing that relationships take work. But somewhere between my bed and my cupboard I would lose all hope and reach for the old sports bra and pair of shorts that saw me through the tough times. It was just easier that way — I knew they could spark endorphins, in the same way that a pair of Louboutins used to do.

Now the shoes only spark curiosity and a vague questioning as to what it all could possibly mean. The kind of curiosity an ancient artefact in a museum elicits.

And so, by extension, a questioning of time and space starts to form, and, consequently, a questioning of your very identity. “Who was I when I bought into this idea of myself? What was I thinking?

What could I have seen in these heels?”

I have been through this kind of thing before. With running. I was the kind of runner who signed up for marathons every year. Admittedly, they had to take place in exotic locations, preferably in large, flat cities such as Paris and Vienna, but marathons nonetheless. And then, just after I ran the Athens marathon (the original, I might add), my love for the entire enterprise dried up like an old olive.

I consulted an expert. As one does. In this instance, coach Peteni Kuzwayo, a Nike Pro who trains a lot of runners. “You have to remember why you started running in the first place,” he said. And he was right.

I remembered that the reason I started running was so I could get to the coffee shop. Faster. And suddenly it was all back, plus an excellent excuse to caffeinate.

But what about fashion? Could I rekindle the spark?

Let me just put this out there. Fashion, I see you. You are a toxic narcissist. Take your seasonal love-bombing. Every time my attention wanders, Fashion goes into full-scale invasion mode. Like Putin trying to take out the Ukraine.

The lights, the cameras, the action… showing me all the things. And by “things”, I mean the heady promise of eternal love, and youth, and beauty. The allure of the new, the glamour of the sparkly things that

FASHION AND ME?

IT’S COMPLICATED

text

Aspasia Karras

twinkle and winkle into my magpie heart.

The campaigns are intense, full on, and happen every few months. But, lately, as my attention wavers, Fashion, you just ratchet up the assault on my sensibilities.

Now there are new lures. TikToks and award shows. Pinterest, Instagram.

You are everywhere. And your payoff line is simple — “This time, things will be different. Let’s just give this one more chance.” Because what Fashion wants from me is complete adoration.

And every time I fall for it. Your spiel is just so hard to resist. Okay. I confess. I am complicit in this dance. I want to echo your light. I too can reflect beautifully in the mirror Fashion holds up for me. Today, I want to look competent, tomorrow, sexy. On Thursday, it’s loveable. On the weekend, I am super fun.

But Fashion — you are gaslighting me.

There I am, all warm and fuzzy and caught up in the magic. Like I have a front-row seat to the rest of my life. It’s going to be

illustration

Can we rekindle the spark of our love affair after the lockdown era?

Carike de Jager

great. But, like all selfish lovers, Fashion, you extract a price. I’m paying before I can even say, “Can I tap my card for that?”

And before I know it, all those promises are hanging like old rags in the walk-in closet of my life. And I think, “God, I have nothing to wear.” The second-guessing starts almost the moment I’ve left the store.

Can I even remember why I liked you so much in the first place? Fashion, you were fun. We made magic. I played dressup with you — you were incandescent.

We used to be great together. It can be that way again. I just have to remember why I started dating you in the first place.

Let’s take it slow. Pop into the consignment store and find a little vintage number that kindles the flame without the crazy churn of the next thing. Or page through that delicious book about you I ordered online — The Glass of Fashion.

Penned by Cecil Beaton, one of your bright young things. I could sign up for that. It could be really lovely.

YES TO BLACK DIAMONDS Bold. Dramatic. Luxurious. Discover the exquisite pleasure of Black Diamonds alive with the magnificence of the raw, rich, African earth. Always unexpected and infinitely alluring, their enthralling glamour is made even more enticing when expertly crafted in 9ct Rose Gold.

Visit our flagship stores: V&A Waterfront Cavendish Square Canal Walk (CPT) | Eastgate Menlyn Mall of Africa Sandton (JHB) | Gateway Westville (KZN) Come in-store to be inspired or explore online at www.americanswiss.co.za

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INTERVIEW

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D

e signers from emerging economies such as those on the African continent are increasingly making a global impact — from Senegal’s Sarah Diouf to South Africa’s award-winning Thebe Magugu, Lukhanyo Mdingi, and Sindiso Khumalo.

At no point in history has Africa been as much a part of the conversation about the future of luxury as it is now. While the shift has been years in the making, challenges remain for an industry that still struggles with accessibility, specifically.

Until 2018, when e-tailer Industrie Africa was launched, there was no definitive, easily accessible source representing the continent’s contemporary fashion landscape. Many of the continent’s brands are, of course, available online and on social media but, since its establishment, Industrie Africa’s “IA Connect” index has become an indispensable, centralised tool for discovering some of Africa’s most exceptional design talent.

Closing this gap was the first thing the four-year-old startup’s founder, Nisha Kanabar, wanted to do when she moved back home to Dar es Salaam, Tanzania, from New York in 2016.

“The disconnect was palpable,” she says. “I’m not from a country with a thriving emerging fashion industry such as, say, Nigeria, so there was little way for me to navigate the region without doing extensive research and factchecking, and having connections. I have all this formal knowledge on the global industry, but it was very difficult to understand what was happening even in neighbouring Kenya.”

Yves St Laurent, or YSL) and the next at Stella McCartney, where she worked in public relations before moving to Vogue, working in editorial, PR, and special events. Here, Kanabar was part of the founding team behind Fashion’s Night Out, an event masterminded by Vogue, the Council of Fashion Designers of America, and New York City’s tourism marketing agency in the thick of the recession of the late 2000s, as a way of encouraging nervous consumers to start spending again.

“Being able to penetrate that exclusive gate was really empowering,” Kanabar says, looking back on her career and the impact of her Parsons education and Tanzanian upbringing, which she credits with teaching her about the power of potential and using her unique influences to exploit her curiosity and love for learning. “What it really did was to unlock a hunger to find my place and [see] how my perspective and influences could contribute to what was around me.”

At YSL, Kanabar was given an early start in e-commerce, then still in its infancy. “I’d go to work in the e-commerce department, which was like, two people at the time, and send out newsletters on this archaic machine. Back then people thought they were just dabbling in it. It was just the beginning.”

Of course, the global fashion e-commerce market is now worth around US$600-billion, something few even thought possible two decades ago.

Her interest in emerging markets led Kanabar to positions at Vogue India and the Middle East, where she worked at style.com, the predecessor to Vogue Arabia, before bringing all her experience back home to Tanzania, founding Industrie Africa.

NISHA The Tanzanian startup KANABAR entrepreneur is using her knowledge of BRIDGES the global luxury industry to address the THE continent’s fractured fashion ecosystem GAP A fourth-generation Tanzanian of north-Indian heritage, Kanabar had what she describes as an upbringing rooted in Swahili and Indian culture. “Living and growing up in this pluralistic society [resulted in] this multi-dimensional identity that really shaped my world view in terms of diversity. I didn’t understand how beautiful and normalised it was until I moved to the US.” While she was an avid reader, she admits to not having been very “artsy” as a child, even though she had a strong sense of creativity. “I didn’t grow up around people who understood fashion, or people who knew what it is to be truly fashionable. Even I didn’t understand what it truly meant to be fashionable, but I knew what it meant to survive and thrive in a cutthroat ecosystem.”

Still, her interest in the arts led Kanabar to the Savannah College of Art and Design in Georgia, US, to study fashion design. However, almost as soon as she got there, she realised it wasn’t where she needed to be. “It felt like the ideas were just not big enough and the student body wasn’t international enough — at least not by my standards.”

It was in Georgia that she gained a grounding in the liberal arts, allowing her to develop her creative skills and a strong sense for design. “But when it came to sewing,” she adds, “I knew that it wasn’t for me and Savannah wasn’t the place for me. I ended up applying to Parsons [School of Design] and the Fashion Institute of Technology in New York — the big fashion schools — because I knew I had the foundation, a good eye for it, and could succeed in it. I just didn’t know exactly how.”

She landed up at Parsons, which has such notable alumni as Marc Jacobs, Prabal Gurung, and Anna Sui. “It was one of those situations where everything just clicked. Every course I did there I was excited about, and Parsons became my launchpad into the industry.”

Countless internships followed, with her first at Saint Laurent (then known as

Sandiso Ngubane

Just two years after its establishment, the platform added e-commerce and content divisions, a natural step in its mission to offer fashion stakeholders, and now consumers, clear and cohesive access to the market.

Among the brands available at Industrie Africa are jewellery by Nigeria’s Adele Dejak and South Africa’s Pichulik, handbags and accessories by Okapi, and clothing by Tanzania’s Doreen Mashika and Loza Maléombho.

Says Kenyan stylist and member of the startup’s advisory board Sunny Dolat: “What’s been amazing about Industrie is its ability to stay agile and dynamic. It’s been tremendously beneficial for fashion on the continent from the perspectives of both raising awareness and expanding the narrative. It’s given designers access to markets that would have otherwise taken them a lot more time and resources to access.”

One of these designers is Adebayo Oke-Lawal, of the Nigerian label Orange Culture. “I think what Nisha is doing with Industrie Africa is phenomenal,” he says. “It’s definitely supporting the fashion ecosystem on the continent. She is super driven and always wants to ensure that all her clients are listened to, which is very rare.”

To further Industrie Africa’s vision of constantly evolving with its community and addressing its needs, Kanabar says the plan is to formalise a completely sustainable ecosystem. With accessibility and the e-commerce platform now in place, the next step is to address the lack of industry-focused education on the continent.

“I hope Industrie Africa can address all aspects of the pyramid, because you’re not going to have people who are interested in fashion or who create beautiful work at the standard that can reach an international customer, or even a customer in a different country on the continent, without addressing the talent and the actual infrastructure.”

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Opposite page: Lua earrings, R1 89O, Kirsten Goss; polo neck, R5 72O, Wolford; Zina harness, R89O; Helia choker, R45O, both Kanella Leather; trousers, R1O 395, Paul Smith; brogues, R1 499, Aldo; Houtlander woven tub chair, R12 5OO, Always Welcome

production

suitably

Hoop earrings, R1O6 OOO, Bulgari; shirt, R38 OOO; blazer, R68 5OO, both Louis Vuitton; B.zero1 rings, R32 5OO-R363 6OO; B.zero1 bangles, R64 7OO-R144 OOO, all Bulgari

Sharon Armstrong

photography

Ross Garrett

04 / 2022

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From ladylike to voluminous and borrowed from the boys, we select the new season styles to get back in the suiting game

fitted

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From left: Sequin blazer, R56 OOO; sequin blazer, R51 OOO, both Dolce & Gabbana; earrings, models’ own

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Agrafe earrings, R23O OOO; Clash de Cartier necklace, R1O6 OOO; Juste un Clou necklace, R243 OOO, all Cartier; polo neck, R5 72O, Wolford; suit jacket, R49 3OO, Gucci; Clash de Cartier ring, R52 OOO, Cartier; suit trousers, R17 6OO, Gucci; brogues, R1 499, Aldo Opposite page: Gold hoop earrings, POR, Charles Greig; blouse, R19 4OO; jacket, R49 3OO, both Gucci; gold oval-link necklace, POR; gold twisted-link necklace, POR, both Charles Greig; shorts, R17 6OO, Gucci

Stockists

Aldo aldoshoes.co.za Always Welcome alwayswelcome.store Bulgari O11 883 1325 Cartier O11 666 28OO Charles Greig charlesgreig.co.za Diesel diesel.co.za Dolce & Gabbana O11 326 78O8 Gucci O1O 442 5252 Kanella Leather kanellaleather.co.za Kirsten Goss kirstengoss.com Louis Vuitton louisvuitton.com Paul Smith O11 883 37O9 Preview O11 884 O4O1 Swarovski spilhaus.co.za Uni Form uniformza.com Wolford O11 325 6457

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PHOTOGRAPHER ROSS GARRETT/ LAMPOST PHOTOGRAPHER’S ASSISTANT THULANI KUBEKA MAKEUP LESLEY WHITBY/ LAMPOST USING ARC HAIR SAADIQUE RYKLIEF/ LAMPOST MODELS FAITH/ MIGS/ BOSS LIGHTING GLOW HIRE FASHION EDITOR SAHIL HARILAL PRODUCTION ASSISTANT NOMBUSO KUMALO

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TROPHY HOMES BACK IN VOGUE text

Joan Muller

Bantry Bay penthouse

V&A Waterfront

The prices of posh pads in swish neighbourhoods are testing new highs

E

state agents have reported a noticeable uptick in demand for bigticket houses and luxe penthouses in recent months, with sales in the R20-million-plus bracket reaching multi-year highs.

Seeff Property Group chair Samuel Seeff says an unexpected resurgence in the top end helped the group achieve a 36% year-on-year increase in sales in 2021 — its highest annual turnover in its 57-year history. There’s been an equally strong demand for luxury properties. Seeff notes that, over the past 12 months, close to 100 residential sales with price tags exceeding R20-million were made by the group in Cape Town alone. Most of these sales were in Clifton, Camps Bay, Fresnaye, Bantry Bay, and the Victoria & Alfred (V&A) Waterfront.

He refers to Camps Bay in particular, saying sales are “on fire” with volumes now almost 50% ahead of those reached in 2017-2018 — the peak of Cape

Town’s previous housing boom. In fact, late last year the group sold an eight-bedroom Camps Bay villa in exclusive Theresa Avenue for a cool R52-million, a new record for the suburb. The property, which went to a South African expat who lives in the UK and plans to retire in South Africa, comes with lavish features such as a private elevator and 10-seater home cinema. Spectacular ocean and mountain views are par for the course.

Seeff ascribes the rebound on the Atlantic Seaboard to a pandemic-induced shift to areas that allow a more relaxed work-live-play lifestyle. He says international buyers are also back, seemingly spurred by the gradual lifting of travel restrictions and the receding threat of Covid-19.

Lock-up-and-go penthouses are particularly sought-after among foreigners. Seeff sold two uberfancy penthouses at the V&A Waterfront last year for R55-million and R45-million respectively. These are the highest prices achieved at the marina since 2012. The R55-million penthouse, which occupies a prime spot in the Waterfront’s Pinmore building, was bought by a Swiss family as a holiday home, while the R45-million apartment in the Juliette building went to a German buyer.

Andrew Golding, chief executive of the Pam Golding Property Group, says sentiments among well-heeled buyers are on the mend now that the pandemic is viewed as less of a threat than two years ago. He believes the strength in the R10-million-plus bracket is fuelled by the remote-work trend, which has encouraged wealthy homeowners to upgrade to larger and better-equipped homes.

The Pam Golding Group has clinched a number of R70-million-plus sales in Cape Town’s leafy Constantia and Bishopscourt over the past 12 months. It recently also sold a penthouse at lifestyle estate Steyn City on the edge of Sandton’s Fourways for R33-million. The sale is believed to be the highest price achieved for a sectional-title property in Gauteng since 2019, when an apartment at Sandton skyscraper The Leonardo reportedly fetched R45-million.

The R33-million apartment is one of two penthouses up for grabs in the first phase of Steyn City’s new City Centre development, which on completion will consist of 700 apartments spread across 38 pedestrianised “villages”. The second penthouse, of nearly 440m2 on the fifth floor, with expansive views across the estate’s indigenous parkland and of the Joburg skyline, is still on the market for R33.6-million. Fully furnished by designers Silvio Rech and Lesley Carstens, it boasts a rooftop plunge pool, chef’s kitchen, private lift lobby, and glass-encaged garages.

The latest data from analytics group Lightstone shows that Cape Town is currently home to nine of the country’s 10 most expensive streets. Clifton’s Nettleton Road tops the list as the place to live among the super-wealthy, with average values at R29.7-million. Sandhurst’s Stewart Place, a stone’s throw from Sandton City, clocks in at second place with an average of R28.2-million. It’s the only Gauteng address in the top 10. Other contenders where buyers typically fork out at least R26-million for a residential address include Fresnaye’s Top Road, Llandudno’s Steens Way, and Bantry Bay’s Avenue Saint Leon.

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PROPERTY

04 / 2022

TOP OF THE WORLD

The Mix at Waterfall City strikes the perfect work-life balance

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ity dwellers in search of a cosmopolitan and holistic lifestyle in a luxe setting need look no further. At The Mix, a new development by Attacq and D2E Properties, luxury living meets edgy design.

The latest high-rise residential development in the heart of Waterfall City was launched in July 2021 and is set for completion in early 2024.

The multi-storey building — connected to Mall of Africa — will boast 371 New York-style studio, one-, and two-bedroom

apartments, but the crowning feature will be the limited number of penthouse apartments. These penthouses, priced at R5.75 million, will have two bedrooms and three-and-a-half bathrooms, as well as two parking spots. Smart technology and sustainable design will complement the sleek design and luxury finishes in the apartments, which also feature open-plan entertainment areas and large verandas with sweeping views of Joburg.

The largest greenfield urban concept in South Africa, Waterfall City has become a leading lifestyle and business

precinct in Gauteng and is home to the likes of BMW, Deloitte, Accenture, and PricewaterhouseCoopers — all connected to The Mix via walking and cycling routes.

The focus on urban living in a lush environment is supported by parks and green spaces. For holistic living, residents will have access to a wellness studio and active zones, complete with a yoga room.

Co-working zones, meeting rooms, and quiet lounges take the work-fromhome concept to the next level. At the

same time, social lounges, an infinity pool, outdoor lounge and terrace, and amphitheatre movie spot will help strike the perfect work-life balance in a social, community-minded setting.

The Mix’s 24-hour security in a lockup-and-go setting makes these apartments perfect for those who are looking to downsize, says Jackie van Niekerk, CEO of Attacq. Biometric access control to the parking, main lobby, and lifts offers an extra layer of security.

In addition to easy access to main travel routes and world-class retail and dining spaces, conveniences also include concierge services; an on-site restaurant, deli and bar; generator backup; highspeed internet; delivery lockers; a laundry lounge; and bicycle-storage facilities.

“Increasingly, buyers are considering quality-of-life enhancers such as convenient access to retail, entertainment, and outdoor experiences as non-negotiables,” says Robin Magid, CEO of D2E Properties, adding that the way developers engage with communities has changed drastically.

“New trends in workweek flexibility and the growing demand for work-life balance are all converging to inform home and investment decisions.”

View the show unit at Mall of Africa shop 2003, entrance 20, upper level opposite Tashas. themixwaterfall.co.za

W

hile Luke Skywalker never crossed to the dark side, Rolls-Royce has eagerly embraced it with its Black Badge series.

This is the British luxury brand’s darker, edgier persona, which replaces traditional chrome trimmings with Darth Vader’s favourite colour. Torsten Müller-Ötvös, the CEO of Rolls-Royce Motor Cars, describes Black Badge as being darker in aesthetic, more urgent in personality, and more dramatic in material treatment.

It is aimed at high rollers who are disrupters and risk takers, with nearly a third of Rolls-Royce customers opting for these dark-themed cars.

MOTORING

Black Badge made its debut with the Wraith and Ghost in 2016, followed by the Dawn in 2017 and the Cullinan in 2019. Now, the new-generation Ghost has adopted the treatment a year after its launch. It has arrived in the Joburg showroom of local importer Daytona, and, as usual, the price is on application.

Rolls-Royce sales soared by 49% to a record high in 2021, despite the global pandemic, as demand for luxury vehicles surged worldwide. Premium-car sales have grown in key global markets such as China and the US, where pandemic travel restrictions have left wealthy consumers with more disposable income.

Rolls-Royce’s growth has been driven principally by the Ghost.

But what exactly makes this noir version different?

For starters, you don’t have to pick any colour as long as it’s black, to quote Henry Ford. Clients are free to select any of Rolls-Royce’s 44 000 “ready-to-wear” colours or create their own bespoke hue.

However, most customers who request this darker expression of the Ghost stick to the signature black, says Rolls-Royce.

To create what is the motor industry’s darkest black the car is coated in 45kg of paint, giving it that high-gloss piano finish. The Spirit of Ecstasy mascot and pantheon grille are also darkened, and, as in the standard Ghost, the grille is illuminated with 152 LED lights.

The dark exterior theme is finished off

NEW ROLLS-ROYCE GHOST CROSSES TO THE DARK SIDE

with bespoke 21-inch composite wheels with 44 layers of carbon fibre.

Inside, materials retain the Ghost’s “post-opulent” design philosophy, which is defined by authenticity and material substance rather than overt statement.

The Black-Badge treatment has a moodier ambience, with darkened surfaces, including a black-faced clock and a dashboard with a diamond-pattern weave in carbon and metallic fibres.

The air vents are darkened with a nontarnishing physical vapour-deposition technique to replace the chrome.

Customers can opt for the Technical Fibre “Waterfall” section of the individual rear seats in the Black-Badge family motif — the mathematical symbol that represents potential infinity, known as a lemniscate. Made of aerospacegrade aluminium, the symbol is applied between layers of tinted lacquer to look as though it is floating above the veneer on the lid of the champagne cooler.

The illuminated fascia on the passenger side of the dashboard displays an ethereal glowing lemniscate surrounded by more than 850 twinkling stars, echoing the subtle sparkle of the Shooting Star starlight-ceiling headliner.

And all of this can be adapted to personal taste, with colourful contrasting trim available for the seats, doors, and dashboard.

The Ghost Black Badge gets a shot of extra grunt, with an additional 21kW and 50Nm coaxed from the twin-turbo 6.75l V12 engine for total outputs of 441kW and 900Nm. And a new exhaust system makes a subtly deeper sound.

The Ghost’s “post-opulent” design philosophy... is defined by authenticity and material substance text

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Denis Droppa

The Black Badge theme gives the classic a moodier, headier ambience

The chassis is upgraded with larger air springs to reduce body roll in hard cornering, but without affecting the typical magic-carpet ride in gentler direction changes. The Ghost’s silky ride is made possible by the innovative planar suspension, which uses a separate damper unit with the air suspension to reduce vibrations over all kinds of bumps.

Power is laid down via all-wheel drive and four-wheel steering. Transmission duty is performed by an eight-speed automatic with a “Low” mode — the Rolls equivalent of Sport — which increases gearshift speeds by 50%.

Incidentally, if you want a petrolpowered Rolls-Royce in your garage, you’re running out of time, as RollsRoyce has committed to going all electric by 2030. Its first electric car, the Spectre, will be brought to market by the fourth quarter of 2023.

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THE GOODS

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SMARTPHONE

1. OPPO Reno7 5G

The world’s third-largest smartphone brand also happens to be a South African Fashion Week partner, so it should come as no surprise that style is part of the DNA of its products. Sporting a gently curved back, an AIenhanced triple-camera setup, and OPPO’s Glow design with Laser Direct Imaging, the Reno7 5G is stylish and powerful without being ostentatious.

With a 6.4-inch AMOLED screen, it has a 90Hz refresh

Reno7 has more than enough power to back up its good looks.

My favourite feature is the “Anti-Peeping for Notifications”, which hides the content in your notifications if it senses that someone else is looking at your phone. Available in Startrails Blue and Starry Black. R14 999, oppo.com/za

rate and is both Netflix HD and Amazon Prime Video certified, making it perfect for on-thego content consumption. The display is also great for gaming or viewing pictures and video captured by the triple camera, which sports features such as UltraSteady Video and Ultra-Clear 108MP Image.

Powered by the MediaTek Dimensity 900 5G chipset and a 4 500mAh battery with 65W SUPERVOOC charging, the

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A DASH OF STYLE

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Brendon Petersen

01.

PROJECTOR

3. The Freestyle

02.

Samsung is known for its industry-leading products, and The Freestyle is no exception.

Unveiled at CES 2022, The 03.

BACKPACK

2. Konnect-i / Cit-e When it comes to embedding technology into everyday items, no one does it better than Google.

The tech giant’s advanced technology and projects division has spent years working with fashion and lifestyle brands to enable a seamless technological experience that doesn’t rely on your tapping away on your phone.

Designed for everyday adventures, Samsonite’s Konnect-i backpack uses Google’s Jacquard technology to help you make the

most of your phone without actually using your phone. It lets you answer calls, listen to text messages, play your favourite song, or even get alerts about things like when your Uber is arriving with nothing more than a gesture on the strap of the backpack.

Available in a slim or standard backpack, the Konnect-i has multiple storage pockets, including a padded compartment that fits most laptops (up to 15.6 inches), and is made of water-repellent fabric.

And if this isn’t quite the one for you, you may want to take a look at the Cit-e backpack that Google made with YSL, which combines these smarts with a luxe design. Compatible with Android and iOS. $220, shop.samsonite.com; $1 150, ysl.com

Freestyle is a portable projector that is also a smart speaker and an ambient light.

Unlike traditional, boxy projectors, The Freestyle has a spotlight design and weighs only 830g, making it far more portable than it appears in pictures. Thanks to a versatile cradle that’s capable of rotating up to 180°, you can watch highquality (1080p) video anywhere — on tables, floors, walls, or even ceilings — without relying on a separate screen.

It comes with full auto-keystone and auto-levelling features that adjust the screen to any surface at any angle. There’s also an auto-focus feature that allows The Freestyle to display a crystal-clear image up to 100 inches in size.

Perfect for watching movies, showcasing artwork, or staging your very own fashion show with vibey, energetic lighting, The Freestyle is a unique intersection between technology and culture.

R14 999, samsung.com/za

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Modern technology is often a marriage of form and function. Here are some of our favourite stylish gadgets

NAVIGATOR

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Dispatches on all things cool, covetable, and conversation-wor thy

food

drinks

A selection of the most exciting new restaurants

Fashion-for ward bubbles — and a fabulously fizzy cocktail

gifted Jewellery designer Katherine-Mary Pichulik

books Michele Magwood on t h e late, g reat Lager feld’s new biog raphy

HOT HOTELS F O R H I G H FA S H I O N

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T h e w o r l d ’s b e s t d e s i g n e r s d r e s s i t s most glamorous getaways

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Welcome area, Ar mani Hotel Milano

he fashion world’s leading designers don’t restrict their creativity to the runway — they also lend a keen eye and inimitable style to some of the world’s most bookable hotels. Wanted pored over the options and settled on three addresses where it’s worth calling ahead…

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PARIS: H OTEL LE BELLECHASSE SA INT GERMA IN

DUBA I: MILAN: ARMANI HOTEL MILANO

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hile the very first Armani hotel may be in Dubai, it’s easy to believe that this ultra-stylish palazzo in the heart of Milan’s famous fashion district is where the brand truly feels at home.

Each of the 95 rooms and suites is testament to designer Giorgio Armani’s eye for detail. Bathrooms are clad in silky limestone from Asia.

A vestibule adds a layer of privacy to every bedroom. Refined fabrics adorn the clean lines of linear furniture pieces. Naturally, covetable Armani amenities are offered throughout.

None of the rooms here will disappoint, but, if one had to choose, the spacious sixth-floor Armani Milano suite offers stellar views of the city skyline and the Duomo.

And if the budget doesn’t stretch to a room, book a table at the Armani/ Ristorante, where modern Italian cuisine comes with a side-order of panoramic views stretching from the ancient cathedral to the skyscrapers of the gentrifying Porta Nuova district.

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PALAZZO VERSACE DUBA I

t’s entirely fitting, for both Versace and Dubai, that the brand adorns no mere “hotel” in this ever-glamorous Gulf emirate. Indeed, “palazzo” is a far more fitting moniker for the vast property in the city’s Jaddaf Waterfront, just 10 minutes from the international airport. Inspired by the neo-classical architecture of Italy, with

just a hint of Arabian influence, this palazzo has clearly been given Versace’s Midas touch.

As you arrive, admire the striking Pietra di Fiume granite inlay of the iconic Medusa that adorns every Versace label. In fact, every item of furniture and each bolt of fabric used in the 215 rooms and suites has been designed and tailor-made by Versace for the hotel. It’s a subtle opulence though, with pastel silks and elaborate boiserie panelling in creams and whites.

Scattered across the resort-style property you’ll find nine restaurants and bars, each with a subtle hat-tip to Italian design, while the intricate mosaics in the three outdoor pools hint at the brand’s long tradition of craftsmanship. palazzoversace.ae

ew arrondissements in Paris are as effortlessly stylish as SaintGermain-des-Prés, the Left-Bank quarter that has long been a haven for writers, artists, and poets. And if Oscar Wilde hadn’t wasted his last francs buying vin rouge in the bars here, he’d surely have taken a room at the charming Le Bellechasse, a 33room boutique hotel brimming with character, charm, and personality.

That’s thanks to the inimitable style of French designer Christian Lacroix, who has infused the hotel with his trademark flamboyance. Wallpaper emblazoned with dragonflies competes for attention with colourful murals, while heavy drapes and plush fabrics create a delightfully Parisian degree of opulence. Enjoy cocktails at Le Butterfly bar on the ground floor, before setting out to wander the cobbled streets of this medieval district.

Le Bellechasse puts you in the heart of Paris, within walking distance of Les Invalides and the revamped parks at the foot of the Eiffel Tower.

If it’s art you’re after, the hotel is mere steps from the glorious Musée d’Orsay, the former railway station built in the Beaux-Arts style that today is home to one of the world’s great collections of Impressionist and PostImpressionist works. And if there’s no room at the proverbial inn? Not to worry — Lacroix also did the décor at the Hôtel du Petit Moulin across the Seine in the charming Marais district.

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Steve Steinfeld

T H E H O T S E AT W i t h a c h o i c e o f t h e w o r l d ’s b e s t a n d a n e x c i t i n g l o c a l o p e n i n g , t h e s e are the reservations you need to be making

Upside-down lemon tart

JOBURG The Test K i tchen Ca rbon

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duck accompanied by roasted ginger-andorange tofu with noodles and a masterstock dressing; and a decadent Wagyu beef rendang shabu-shabu with a mushroom dumpling for the mains.

The meal ends with upside-down lemon tart with purple shiso sorbet, or textures of chocolate and mascarpone with smoked white-chocolate ice cream.

The kitchen team has also created a range of inventive cocktails, while wine or non-alcoholic pairing options are available with the meal.

The full menu runs 11 courses, while a reduced lunch menu serves up eight courses.

COPENHAGEN

thetestkitchen carbon.co.za

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he talk of the town has undoubtedly been the relocation, reinvention, and evolution of award-winning chef Luke Dale Roberts’ The Test Kitchen.

The new expression in Dunkeld is called The Test Kitchen Carbon, and is designed in a similar vein to the Cape Town version’s “dark room”.

Dale Roberts, head chef Tyron Gentry, and the team present an impressive tasting menu that sees The Test Kitchen’s signatures joined by some seriously stellar new dishes.

There are the classics — the billionaire’s shortbread and the pork scratchings with a flagon of beer foam. Then there are a paella-style risotto with crayfish and a lemon-and-calamari oil; succulent roast

Geranium’s Søren Ørbek Ledet in the wine cellar

“Danish tradition” salted herring in crispy algae with dill stems & aquavit

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hef Rasmus Kofoed has embraced a new direction at his worldrenowned restaurant Geranium, in Copenhagen, having reworked the interiors, menu, and overall experience. The restaurant currently sits at No. 2 on The World’s 50 Best Restaurant Awards and has boasted three Michelin stars since first receiving the accolade in 2016.

Kofoed, who uses organic, bio-dynamic, and seasonal ingredients sourced from across Scandinavia to create a multi-sensory culinary experience, once again pushes the boundaries.

“I had been thinking about taking Geranium in a new direction for a while, and now I feel it’s time to change. The world is changing, and we need to follow up.” As a result, Geranium has gone even more sustainable, in terms of not only produce but also people, mindset, and environment.

“I woke up in the middle of the night with so many ideas and a clear vision in my head that I had to get up and write them down,” Kofoed explains.

The biggest change is the decision to no longer serve meat. This decision was guided by the way the chef eats at home. “My menu has always been focused on vegetables and ingredients from the ocean. I want the menu at Geranium to be authentic and reflect what I choose and like to eat.”

The new menu, titled “The Spring Universe”, is a culinary spectacular divided into three stages — appetisers, savoury servings, and sweets.

It features vegetarian, plant-based, and seafood dishes, served up in Geranium’s signature style that seamlessly balances intricate detailing and restraint, while paying homage to nature.

The 22-course menu includes dishes such as “Danish tradition” salted herring in crispy algae with dill stems and aquavit; forest mushrooms with beer, smoked egg yolk, pickled hops, and rye bread; and a cloudberry, pumpkin, and white-chocolate dessert.

Accompanying the new menu is co-owner, wine director, and general manager Søren Ørbek Ledet’s impressive wine list, which has 4 300 listings.

Reservations open 90 days in advance. geranium.dk/en/

THE QUINTESSENTIAL KITCHEN

+27 21 300 3708 | OFFICINEGULLO.COM

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Wade Bales 1.

THE BANGHOEK 2017 reated at Delaire Graff,

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MADE THIS WAY

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BOTTEGA PROSECCO

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B e n r i a c h S i n g l e M a l t s Benriach, famous for its long-standing tradition of distilling classic, peated, and triple-distilled whisky, has two new single malts, both with a fresh new look. Inspired by the 1994 bottling of the Original Ten, the new range re-imagines the 1898 origins of Benriach, brought to life in the 21st century. Crafted by master blender Dr Rachel Barrie, The Twelve balances richly sherried malt with added layers of fruit complexity, matured in bourbon, sherry, and port casks. From R500 a bottle.

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KLEIN CONSTANTIA VIN DE CONSTANCE 2018

lein Constantia’s 2018 harvest was its second longest in over three decades. While less rainfall resulted in much lighter bunches, the berries themselves were small, pristine, and full of flavour. The corresponding Vin de Constance vintage has just been released, and it’s as bright in colour as it is in character. The nose is layered with complex flavours of Seville marmalade, ginger spice, and grapefruit. As can be expected from a world-famous dessert wine, a luxurious mouthfeel gives way to a lingering finish. Capable of ageing for many decades, if not generations, from release. R1 295 a bottle.

n Italy, it’s never too cold for bubbly. Il Vino dei Poeti Prosecco DOC is a brut sparkling wine, made according to traditional techniques in the province of Treviso. Today, it’s the most popular Italian wine. Straw yellow in complexion, this luminous liquid has a fruity and floral nose that gives way to a delicate, balanced acidity and softness.

Perfect alongside your favourite pasta, pizza, or risotto dish.

R289 a bottle.

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Wade Bales is a wellknown wine négociant and merchant

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one of the Cape’s most acclaimed wine estates, this masterful blend of cabernet franc, cabernet sauvignon, petit verdot, and malbec makes for an elegant wine, characterised by subtle spicy oak, traces of cedar wood, and delicate aromas of rich violets. R2 200 a bottle.

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The maker of the world’s favourite Italian amaretto, Disaronno, has recently unveiled a fresh new cocktail: the Disa Fizz. A zesty mix of lemon, soda, and Disaronno, it’s an autumnal alternative to the mimosa. Pour 45ml of Disaronno into a glass filled with ice, top up with soda water, and add a few drops of fresh lemon juice. Stir, garnish with dried lemon peel, and toast to la dolce vita. R329 a bottle.

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D OM PÉRIGNON X LADY G AG A

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A FRESH HOP JACK BLACK

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he collaboration we have all been waiting for — Dom Pérignon X Lady Gaga. Gaga’s limited-edition Dom Pérignon sculpture, a majestic piece encasing a jeroboam of Rosé Vintage 2005, will be sold to private customers across the globe. Profits from the sale of the 100 signed collectible pieces will benefit her Born This Way Foundation. Says Lady Gaga: “Generosity can make a change, and I’m honoured that Dom Pérignon is kind enough to give back as part of our collaboration.”

R850 000 each.

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Once a year, Jack Black brews up a limited-edition IPA (India Pale Ale). Brewed in small batches, this session’s IPA (called Fresh Hop) is as fresh as it is flavourful, supported by a lovely malt backbone.

Available directly from the Jack Black Taproom, as well as its online shop and selected retailers. Best enjoyed sooner rather than later — so hop to it! R120 per four-pack.

C O L L A B O R AT I O N

WINELANDS SPOTLIGHT What does more than 300 years of winemaking heritage taste like?

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SPIER WINE FARM

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reat the family to a winelands experience and visit one of the oldest wine farms in Stellenbosch. Spend some free time at Spier’s village-style hotel, followed by a tasting of some of South Africa’s most renowned, award-winning wines. Then make your way to Vadas Smokehouse & Bakery for delicious farm-inspired food or settle down under the ancient oaks for a seasonal picnic.

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01. What is your personal definition of luxury? “Luxurious” is something that has a story, something that holds meaning for me.

Luxury makes you feel good about yourself when you wear it, makes you feel strong and beautiful. I know I can’t feel good wearing something that affects other people negatively in the making of it. So luxury, essentially, has become about ethical processes, authenticity, and consideration. 02. The one indulgence you would never forgo? A haircut.

03. An essential grooming product? Red lipstick. In my handbag, I have at least 10 styles with subtle tone variations, from coral to deeper mulberry. My dream lipstick, which I am yet to buy (on my next overseas trip), is a Hermès. 04. What tech gadget couldn’t you live without? My Fitbit Luxe. I can swim with it, track my oxygen levels, sleep, and exercise. 05. If you had to choose, what is the single most sentimental object to you? My gold Peruvian cuff. It was my great-grandmother’s and was passed down to my mother, who officially gave it to me on my 30th birthday. It carries the strength and resilience of my whole matrilineal line and makes me feel supported and powerful.

06. What is your drink of choice? I love a dirty vodka martini. It’s salty and savoury and the brine of the green olives cleans my palette.

07. When you eat out, where do you go?

Much to my husband’s dismay, I like food that one can share. This generally translates to Middle-Eastern and Mediterranean food.

In Cape Town, I love places such as Sloppy Sam Pop-Up or Maria’s Greek Café. Thali

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KatherineMary Pichulik The charismatic jewellery designer on the joys of red lipstick and ferries across the Bosphorus

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has fantastic cross-continental Indian cuisine. 08. What element in your wardrobe signifies your individual sense of style? Jewellery. I make jewellery and I love the feeling of being adorned.

09. What was the last object that you picked up on a shopping expedition with which you instantly fell in love? I am embarrassed to say it, but it is a pair of plastic Birkenstocks. It’s changed my life. I love to swim in the ocean, and the seamless “water to shower and beyond” nature of it has brought a new level of ease to my life.

10. Favourite watch brand? Georg Jensen. A dream piece is the Vivianna Quartz Black PVD. 11. The last place you travelled to that captured your heart? Istanbul, always! Going to Istanbul over Ramadan is magical — the call to prayer in chorus across the city, the mosques with their intricate mosaics, the ferry that takes you from the Asian to the European side of the city. The everyday bits of life. 12. What book is on your bedside table? Through the Flower: My Struggle as a Woman Artist by Judy Chicago. She is my idol and was a seminal figure in the connection between the crafts movement and feminism.

13. What’s the last meal that really blew you away? A lamb curry made by my husband, Xandre Kriel, on Valentine’s Day. 14. Which musician really appeals to you at the moment? Zolani Mahola, The One Who Sings. We all know her from Freshlyground. Her recent solo album is authentic, vulnerable, and affirming. My music taste generally is African traditional and contemporary, with a definite love for North African blues. 15. What’s your next must-have? A cream linen suit with a black silk shirt. How can you not feel powerful in this combo? Mafia boss crossed with a bossa-nova singer.

16. What will you always find in your fridge? Parmigiano Reggiano and Dijon mustard. Any salad can be resolved with these ingredients. 17. A gift that you’ve recently bought for someone? I love to gift Pichulik jewellery. Each piece has been designed with a specific story, and honouring the women I love with one of these stories feels intimate and considered.

18. What place inspires you? The Karoo or the Cederberg. Desolate spaces in the Western Cape. The silence, the disconnect from technology, and the nourishing effects of nature inspire and rejuvenate.

19. Someone who has recently caught your attention? The Mozambican painter Cassi Namoda, whose work I love. She’s with the Goodman Gallery. 20. The last item of clothing that you added to your wardrobe? A pair of jeans from Pereira Vintage, Cape Town. 21. Your favourite city in the world? Istanbul. The Bosphorus is romantic and has a fascinating history.

The food, the people, the way light reflects off the water. Istanbul is heaven.

1. Georg Jensen Vivianna Quartz PVD 2. Through the Flower: My Struggle as a Woman Artist by Judy Chicago 3. Hermès red lipstick 4. Pichulik necklace 5. The One Who Sings by Zolani Mahola 6. Cassi Namoda, Little is Enough For Those in Love, 2019

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Michele Magwood is an awardwinning literary critic

correspondence and conducting interviews with new sources to reveal a deeper understanding of a man who hid his roots well.

Lagerfeld grew up in a wealthy, Nazisympathising home in Germany with a bland father who made his fortune with evaporated milk and a frustrated, pretty, spiteful mother whom he could never please. She criticised him constantly — “Your nose is like a potato. And I think I should order curtains for the nostrils” — and even when she lived with him in

grand style in Paris in her last years she could not be satisfied.

Probably to shut her out, her son started drawing from the age of two, as soon as he could hold a crayon. He had no friends, but he began to read early, and could speak English, German, and French by the age of six.

Fleeing to Paris as a teenager, he was at last free to live as a gay man and an artist.

He quickly won a design competition, and stepping onto the stage with him was an equally callow Yves Saint Laurent. Yet

READ ALERT.

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A touch de trop, or everlastingly divine?

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hen Karl Lagerfeld died in 2019, the curtain came down on an age we are unlikely to ever see again — the era of fashion excess.

Into the Grand Palais, the vast glass palace in Paris, streamed princesses and presidents’ wives, supermodels, actresses, booksellers, jewellers, moguls, and frocked fashion Valkyries, all come to pay homage to Lagerfeld, the Emperor, the walking brand, the iron popinjay.

It was a fitting setting for the memorial, as it was here that Lagerfeld staged many of his eye-wateringly opulent shows. He imported icebergs from Sweden for a winter scene, built a full rocket ship that took off in a finale, spread out a pristine beach for a summer collection and, once, set out a supermarché that had models shopping for Chanel groceries such as “Coco Pops” and boxes of handkerchiefs labelled “Les Chagrins de Gabrielle” (The Sorrows of Gabrielle).

Lagerfeld embodied “consumerism without remorse”, says Alfons Kaiser, the author of the new biography Karl Lagerfeld: A Life in Fashion. But the private jet, the Rolls-Royce, the butler with his silver tray for the Pepsi he drank in litres, the dedicated maids for his cat Choupette, had all begun to seem outdated in his last years.

Lagerfeld, in fact, kick-started fast fashion in the early 2000s by designing a low-cost range for H&M. Now the tide is turning against it, for the waste it creates and the resources it drains. At the time he died — and even pre-pandemic — people were beginning to have their fill of wastefulness and excess.

Kaiser digs deeply into the designer’s life, unearthing previously unseen

A new biography unwraps the complexities of Karl Lagerfeld, the emperor of fashion

what began as a firm friendship became a poisoned enmity in later years.

Lagerfeld broke the mould of couture by becoming a freelance designer, rather than staying with one house. At Balmain he learned the classic techniques of sewing and cutting, working 20 hours a day. He drew for Chloé (and made his first fortune licensing the perfume),

Fendi (where he reinvented the fur), and Valentino, until he stepped in at Chanel and rescued the tottering label.

No one worked as tirelessly as Lagerfeld, who married his Prussian discipline with prodigious inventiveness.

He never drank, never smoked and, if he is to be believed, never had sex. The great love of his life was a louche, aristocratic younger man named Jacques de Bascher, whom someone described as “slightly diabolical”. They were together for 17 years until de Bascher died, too young, of Aids. Lagerfeld insisted their relationship had never been consummated: “If you let boys get too close, they’ll ruin you.”

Apart from his rigorous work ethic, the secret to Lagerfeld’s long reign at the dizzy top of a dizzying world can be attributed to one thing: a relentless hunger for the new.

“I am a fashion person,” he once said. “I change clothes, furniture, houses, collections. Life is about change. There is a moment when things cannot become any better; then you change.”

He surrounded himself with young people, and spent hours each day in music stores listening to new music and the DJs who frequented them. He was an insatiable reader, buying between one- and two-dozen books a day, and eventually owned his own bookshop, the 7L in Paris.

In later years he became increasingly fastidious — one room in his vast apartment was dedicated to the powdering of his hair, and he ate in a separate apartment so his workplace would not smell of cooking. He had three desks for letter writing alone, in French, English, and German. His cat had two maids and a beautician.

He wore fingerless gloves so he didn’t have to touch other people’s hands, and sunglasses so that people couldn’t see his eyes.

His acid tongue began to get him into trouble: “I don’t have to feel ashamed of myself for working with fur. Minks are just like vicious rats.” “You’ve got fat mothers with their bag of chips sitting in front of the television saying that thin models are ugly. The world of beautiful clothing is about dreams and illusions.”

After he died, he was called a fatphobe and a misogynist, but the glittering crowd at his memorial remembered someone different. Lagerfeld was a renaissance man, a prodigious and cultivated creative talent who wanted a world of only grace and beauty, and set out to make it so.

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Michele Magwood

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y dad passed away two months ago.

When I think about him, which is a lot, he’s often in a fleece jersey and faded peak cap. In my mind, he’s striding around the tennis court for exercise in the watery Joburg winter sun. Or he’s tinkering in his workshop on a Saturday morning in a pair of vellies and an item formally known as a jersey.

More accurately, it could be described as the shell of a beige pullover, held together by some attempts at darning and a couple of valiant threads of wool. Whenever I saw Gerald (my dad) in it, I’d think, “No doubt, some cutting-edge knitwear designers would proclaim the entire look to be seriously directional.” The “deconstructed jumper” had the air of something you’d see debuted by a young hopeful at Berlin Fashion Week.

Gerald got the look with the help of a misfiring stationary engine, open flame, and leaking diesel.

Sarah Buitendach is contributing editor to the Financial Mail.

ECLECTIBLES.

But I’m making him out to sound like a vagabond, which would have displeased my father immensely. As a decades-long subscriber to Business Day, reading this, he’d have said, “You are totally misrepresenting me in this fine publication,” adding with a chirp, “Stop with the fake news.”

Truthfully, Gerald was one natty dresser. It has only recently dawned on me just how much he influenced me sartorially. I always thought I’d got the classic-kit-loving genes from my mom, but really my father played a part too.

Last week, meandering to the boarding gate on a flight back from Cape Town, I clocked a young guy mooching at Mugg & Bean in his pyjamas. Gerald would have been appalled.

He never went to an airport in anything other than good slacks, a collared shirt, and a blazer or jacket. In the days when he flew to the UK for work every couple of weeks, the outfit would be accessorised with a blackleather man-bag. For holidays he added

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The percentage of US fast-fashion sales made by Chinese online platform Shein, which has a market share larger than that of Zara and H&M.

The price in Ethereum for which Dolce & Gabbana’s NFT collection sold in October 2021.

At the time it was equivalent to almost $6-million, setting a new NFT fashion record.

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A NUMBERS GAME text

Declan Gibbon

PRETTY IS AS PRETTY DOES

The percentage of the Stone Island Liquid Reflective jacket that is glass, with the other materials being polyester and resin. The fabric is highly reflective, thanks to a sprayedon coating of thousands of glass microspheres.

The percentage of the global luxury market’s sales that are made in Russia, which has a small but high-spending group of luxury consumers.

125 000

The age at which beauty mogul Rabia Ghoor started swiitchbeauty. She received the Forbes Woman Africa Young Achiever Award in 2021, at age 21.

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The percentage of global carbondioxide output — more than shipping and air travel combined — that’s contributed by fashion, according to the UN Environment Programme.

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The percentage of luxury group Kering’s global revenue that was generated by the Gucci brand in 2021. Kering’s revenue was approximately €17.64 billion that year.

1 885.719

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Inheriting all the looks

a real Ecuadorian Panama hat (which got left everywhere, but somehow always found its way back home).

As I stood and silently judged the domestic departures shloomp, kitted out in my Breton-stripe shirt and a Panama too, it dawned on me that Gerald had taught me his Wasp-ish ways well.

He loved a tweed jacket and a checked shirt. He had V-neck jerseys in every bold colour imaginable and went through a major braces-and-cravat stage. He wore the right kind of suits in the corporate years — and, thank the fashion gods, would never have considered a “fun” or club tie.

When my mom, my sister or I wore something he liked, he’d say, “Hell, you girls are hot stuff!” If we were wearing something that he wasn’t keen on and we protested, his response would be, “When I did my tailoring apprenticeship on Savile Row, that is not what they taught me.”

Who could keep a straight face when a management consultant made that kind of totally audacious and blatantly fabricated claim?

Once, he returned from a London trip with a new Burberry trench coat for my mom in his hand luggage. It fitted her as though he had, in fact, tailored it on Savile Row. Dad was no great gift-giver, so when we marvelled that that one was wildly on the money, he said he’d spied a lady in the Burberry store who seemed the right size and made her try it on.

I hope I’ll inherit the trench one day — for now, I’m thrilled to have raided Gerald’s piles of jerseys and cardigans.

They are over-sized, but, as my sister informs me, this is very on-trend. I’m not ruling out the burnt-beyond-belief workshop version either.

The amount in dollars for which the rare — and very coveted — SS17 Louis Vuitton x Supreme Malle Courrier 90 trunk sold at auction in 2017, making it the most expensive Supreme item yet.

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Sarah Buitendach

ROGER SEATING SYSTEM | RODOLFO DORDONI DESIGN SUPERQUADRA COFFEE TABLE | MARCIO KOGAN / STUDIO MK27 DESIGN DISCOVER MORE AT MINOTTI.COM/ROGER

CAPE TOWN

BY L I M E L I N E WATERWAY HOUSE-NORTH 3 DOCK ROAD, V&A WATERFRONT CAPE TOWN 8001, SOUTH AFRICA T. +27 (0) 21 424 8682 - INFO@LIMELINE.CO.ZA